Plexiglas in nature – no more, no less. In this work, artificially manufactured material enters into a symbiosis with nature, in which ‘wounded’ nature can be said to be ‘healed’ through culture. In her interventions with Plexiglas in nature, Vera Röhm detects amazing effects. For instance, depending on perspective and the incidence of light, the Plexiglas could appear like a luminous white panel, which reflect the (overcast) sky or show parts of the materials lying behind it. The term ‘integration’ refers to the fact that something fragmentary is incomplete and is ‘integrated’ by means of a measure or a material and thus made complete again.
Vera Röhm’s work reflects the spirit of Land Art which began in the 1960s in the United states and peaked in the 1970s. The artist experiments with differently sized round or angular Plexiglas panels, positioning them in nature and studying their impact in combination with different incidences of light, perspectives and times of day. Her work has also one further focus - architectural forms. The series Ergänzungen comprises sculptures in which wood and Plexiglas, nature and art, engage in a conversation. They are made of elm-wood, broken in two pieces, whereby each piece is complemented with Plexiglas fused on the point of fracture. The idea of this series developed out from seeing damaged tree trunks: the artist wanted to heal the wounds by completing the broken, missing parts of the trees with Plexiglas. Röhm’s combinations of plastic and wood illuminate for their contradictory yet complementary appearance.