Artists: Seçkin Pirim - Jorinde Voigt

Dirimart presents Fractures & Rhythm, a duo exhibition bringing together selected works by Seçkin Pirim and Jorinde Voigt.

Bringing together two distinct yet resonant artistic practices, the exhibition establishes a compelling dialogue between paper cut-out works that translate personal experience into complex visual systems. Seeking a state of equilibrium between manual and digital processes, and between order and disruption, Pirim and Voigt explore how human authenticity persists within the world’s imposing structures.

Turkey-born artist Seçkin Pirim (b. 1977, Ankara) creates works on paper that emerge from deliberate interruptions to repetitive gestures. He transfers paper cut-outs – initially designed to generate symmetrical strata – into intricate, sculptural forms. Although academically trained as a sculptor and working with digitally conceived compositions that appear carved from solid wood, each piece is in fact constructed through labour-intensive layers of paper.

Pirim’s recent series Grey Columns (2024) and Thorn Garden (2024) draw on his research into how ancient artists expressed themselves through architectural pillars – elements that continue to shape our understanding of ancient cities. The work Perspective (2025), a variation of the Thorn Garden series, reflects contemporary digital interference, a condition that continuously permeates Pirim’s practice.

In dialogue with Pirim’s works, German artist Jorinde Voigt (b. 1977, Frankfurt) centres her practice on large-scale works on paper that encapsulate the natural flows underpinning human perception, engaging with concepts of reality, truth, and knowledge. Her work arises from a sustained inquiry into how beauty is generated through both nature and human intellect, an inquisitiveness she continually develops through process-led series.

Developed during the Covid-19 pandemic, Voigt’s Rhythm series (2022) consists of sculptural recordings of movement. Lines created in three dimensions through cutting, slicing, and layering coloured paper evoke blossoms and landscapes. This ongoing process of deconstruction and reconstruction is animated by the interlocking rhythms of the world around us. Works from The Sum of All Best Practices (2021–22) series are made from cut-outs of individual leaves collected in Berlin parks and assembled into three-dimensional configurations, pointing to the infinite ways in which a single, specific object can be part of a broader system of complexity.

The dialogue between Pirim and Voigt demonstrates how two artists with contrasting points of departure converge in their approaches to navigating chaos, harmony, and the search for coherence – a connection intrinsic to both their practices.