In Gilot’s works the pictorial space is not a site or a place; it can signify a void, but also an intermediate or free space, even room for maneuver. Space thrives on its borders and it is existentially crucial to establish these borders. The graphic line invents and sets the limits of space as the site of the possible, an imaginative space in which to find and experience oneself. Gilot’s drawings addressing worldliness seem to illustrate the existential dimensions of being-in-the-world, reflected on most strikingly perhaps by Heidegger in the category he calls »making room« ("Ein-Räumen").There are not only real spaces, but also new sites of thought and imagination, intertwined in Gilot’s very specific performative act of drawing.
"'making room' ("Ein-Räumen").There are not only real spaces, but also new sites of thought and imagination."
This is the first I have seen of "Ein-Räumen." While most of the review has to do with elements of visual art, I find it helpful that the reviewer also includes references to the impact of the work as a whole. In my limited experience, art reviews lose my interest when the technique so dominates the reviewer's interest that the work as a whole is nearly forgotten.
Make Room (einräumen): Making room is an existential of in-the-world. It lets entities within the world be encountered by giving them space. This making room for entities consists in freeing the entities whose way of being is readiness-to-hane for their spatiality. Space is in the world, insofar as space has been disclosed by being-there in its making room.
I recall it also showing up in some of the later works on sculpture.