prostitution and drug abuse, 4:28 - 5:28 am draws from memory and montage to create an interconnected body of work that brings the private into close contact with the public. Replicating the layout of one of its rooms, the main gallery features four staged scenes, each occurring over the course of the hour. Heavily influenced by cinematography, Wolke’s approach to painting relies on the construction of a scene rather than the authority of a single frame. Favouring the rendering of a moving image into a two-dimensional space, the artist not only subverts the static nature of her medium but provides broken narratives that unfold before the viewer as reality and fantasy are blurred.
Cinematic jump cuts offer windows into events hard to grasp: a lover’s quarrel or a lover’s embrace. Props play only to confuse further: masks, wigs, and hunting lights disorient. A musical backdrop inspired by TV channels aired between 4:28 and 5:28 AM, produced in collaboration with Gašper Torkar, plays softly. A banner at the entrance borrows typography from the hotel’s. Losing touch with what is real and what is mere construct, the viewer is transported into a space where fiction reigns. Fabricated and sequential, these narratives reveal the shame of both seeing and being
seen as the viewer is made into a trespasser and becomes an unwilling, yet curious, participant in the act of vo