The origin of Ingrid Gaier’s new textile works is to be found in the perception of the body. The basis upon which they are developed can be described in few words: a female body in a room. With these two elements Gaier enters into free, contemplative play, at whose end are objects that conserve bodily and spatial experiences. In this process the artist is supported by intimate knowledge of how to work with the body, and by a highly developed philosophy of visual depiction and its manipulation. The scene of the action – the room – is translated into curtain-like bands of cloth, which, permeated with appliques and perforations, define a precisely formulated, flattened area of space. The logic of the nested forms and their interpenetration suggests locality and physicality, unfolding anew the original space of movement. Depiction of the body is broken down into cutouts and sections, contour and filling; then it is sewn onto wide bands of cloth. A layer of embroidered thread (like skin) spreads out over certain areas of these body fragments, and intermittently undergarments or tube-shaped elements (referencing entrails) have been sewn on. Having established this cartography on the fabric surface, Gaier begins to play a game oscillating between the sensuous-expressive recording of perception and carefully structured declination in the language of ornament. The grammatical permutations of this language are: multiplication, mirroring, rotation and layering. Through her experimental and undogmatic approach, Ingrid Gaier happily sidesteps various conventions, thus arriving at surprising technological solutions. In this sense she is, in fact, not a textile artist at all.
Lucas Horvath, 2001 / folder text for the exhibition at Eboran Gallery, Salzburg