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Essays & Catalogue Texts

Two Desks, Each in a Small Room, One in Bremen, The Other in Berlin—Late Evening A conversation between Nadja Quante and Maxwell Stephens

In: Sofia Duchovny: Private Viewing, eds.: Tomke Braun

Kunstverein Göttingen, Göttingen, 36–50.



NQ: … For me Sofia’s still lifes appear like depictions of dreams or inner states or secrets that could be read psychoanalytically. She develops her own language of symbols. The animals can be read as metaphors for fear and subconscious processes. The spiders with their very long legs seem to symbolize fear and disgust, while the dogs suggested the opposite and could be associated with fidelity, security, and trust. The paintings seem very intimate and introverted while the sculptures are very inviting and extroverted.


MS: Looking at the documentation, I’m noticing the way some of Sofia’s tent forms seem to open outwards toward the viewer in the space. Some are energetic and erotic, like Fly With Me (2018), while others create an interior space and seem to close inwards. In this comparison, I can set aside the idea of the inward forms presenting me with architectural propositions, and instead see them as figures that retreat from the viewer. They feel fragile in this sense, but because of their materiality, the lace and the cords allowed me to see through the closed forms, directly inside of them …