Bianca Runge cuts holes in reality.
A reality that is so subjective, that it is almost arrogant to expect and assume a single and unitary reality. A reality that refuses to conform to the expectations of the players, and the reality they create for themselves. A reality that hides within infinite realities, with just a hole to help the keen observer with a peep show, of another dimension, another reality.
Bianca Runge, through her collages explores the paradox of reality which poses new questions as one gazes at her works. In her book, titled :no subject, she seems to question the very idea and concept of needing a theme or subject for creation. Her collages may lack a cohesive subject or a theme, but to a viewer they seem to cut through the reality imposed by the so-called objectivism.
Bianca’s book is almost a parody of voluminous and textual books written by professionals. The book starts with the hopeful and clichéd “Once upon a time” and flip the page, one sees Dutch landscape and flip another, mocks the reader good naturedly saying “there was no story”. A sentence divided between two different initial sheets of the book prepares the reader for Bianca’s collages.
While there are texts written by Wytske Visser and Rutger Wolfson, an ‘about the book’, her biography, there are hundreds of collage works with each speaking more than a thousand words. The book, :no subject is an extreme example of how words needn’t be wasted and how art can stand on its own, without a title, a subject or text to describe it. :no subject tells no tales, and is devoid of any logical order or structure. The book is similar to non-linear narratives, and there is no particular order in which the collages are placed within the book.
The reader faces the challenge of forming associations and observing the psychic energy that surfaces in the consciousness. These collages bring the hidden associations and meanings and the reader develops and sees through reality and its different versions. The Dutch collage artist provides the reader an opportunity to explore different dimensions within one’s minds and around them as well.
Bianca uses different themes to explore and present possibilities and impossibilities to the reader. She constructs her collages in layers and what may remain is combines with a different image. This suggests the shifts of identities and shifting realities. A female form has the skin cut away and the hole reveals something else, perhaps a scene from the life on a street. Such graphic shifts in realities and identities present the reader with possibilities to explore their own subjective situation; and where they may actually stand.
The book certainly has little to offer for those who expect a lot of textual content and descriptive material served on a platter, which is manufactured within the confines of a publishing house. However, for the discerning reader, the book opens up compelling possibilities which otherwise might never open up.
Everyday situations, women, fish offer layers and textures and holes through which one could see a different and new reality, which otherwise might have been ignored if not for the holes cut within these images. Bianca Runge presents the reader with a surreal situation where one feels lost within no man’s land between different realities, dimensions and identities.
I use allure to carry myself and others along; into the depths. I’m not concerned with making statements about femininity or ‘the role of women in media’. Let alone that I would use a politically correct statement about fish.