Kim Habers (Dutch, 1979) makes complex drawings consisting of a swarm of interwoven lines. You can also see urban patterns in them, like city maps or infrastructure systems, or an organism that appears to be no more than a fabric cutout whose beginning and end have been overgrown by successive layers. Her more spatial works look like abstract sculptures from a distance but from close up reveal minute detail.
Habers is not limited by the two-dimensional nature of a drawing. She reworks it, cutting it, transforming the paper into a three-dimensional structure. This is how her drawings morph into three-dimensional sculptures. For Habers, making drawings is an ongoing and dynamic process that continuously yields new forms with new meanings.
Her process is very labor intensive, requiring both concentration and isolation. In terms of craftsmanship and content, the handcrafted and handwritten aspects of her work are crucial to the way it is perceived by the viewer. They are drawings and sculptures in which she completely loses herself and which, owing to their quirky nature, have the same effect on the viewer.
Those drawings that do remain two-dimensional – often only briefly, because Habers tends to constantly rework her pieces, changing them until they become three-dimensional – also reveal enormous abandon and precision. Her three-dimensional works are usually temporary, can only exist briefly: dismantling and re-installing them is virtually impossible. Transitoriness is intrinsic to this way of working with paper. Perhaps the beauty of Haber’s drawings stems precisely from the fragility, the fleeting nature of their existence.