Serpentine: Rosemarie Trockel

When walking around the Rosemarie Trockel exhibition I became overwhelmed with the variety and contents of the exhibition. I understand that Trockel could be criticised for not maintaining a set theme and style when looking at the work, however this variety and the fresh, interesting changes between each room made the exhibition flow with a assertive sense of movement. Also when looking at each of pieces all together every piece had an organic, gritty, handmade look to it. This made you notice the contrast between the materials and the variety of feelings that you picked up while walking around. For example Trockel's woolen pieces had a very vibrant, yet homely feel to them and then it was as if the rug was swept from beneath you when moving through to her sculptures which made me feel incredibly uneasy. 
I felt I could relate most to her woolen pieces as I noticed how the relationship between the colours and how one affected another. This is a relationship I have been looking at in my own work.

 Something else that caught my eye whilst walking around were Trockel's miniature sketchbooks. They had been so intricatelycrafted that they became a astoundingly beautiful object in their own entirety.

Rosemarie Trockel's work was very interesting for me to see first hand because the emotion her work emits is something that is lost through representations of the work. However I didn't like the majority of the work mainly because I'm so engrossed within painting and the issues I am stumbling upon I felt I couldn't relate to the work as much as I would've liked.

It was rewarding to also see the Serpentine gallery itself because as an exhibition space it's very interesting and unique. Which may be another factor to why Trockel's work maintained it's enegery throughout the exhibition

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