GAP FILLER

Sonja Bischur, Eni Cani, Elisabeth Drude, Veresa Eybl, Ursula Guttmann, Andrea Maxa Halmschlager, Susanne Hammer, Margit Hart, Iris Hummer, Michelle Kraemer, Noah Layr, Julia Lausegger, Elfie Lerch, Martin Lerch, Jacqueline Lillie, Gerti Machacek, Fritz Maierhofer, Stephie Morawetz, Anita Münz, Viktoria Münzker, Ela Nord, Izabella Petrut, Konstanze Prechtl, Wolfgang Rahs, Ulrich Reithofer, Haldis Scheicher, Birgit Schlarmann, Eva Tesarik, Birgit Wiesinger, Petra Zimmermann
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Ritsche, ratsche, voller Tücke, in die Brücke eine Lücke!
(Clip, clop, with cunning trick, in the bridge appears a nick!) – Wilhelm Busch

The exhibition titled Gap Filler arose from a specific organizational challenge caused by the last-minute cancellation of a previously planned exhibition in my gallery space. This unforeseen situation required an ad-hoc initiative, making it clear that every artist invited on short notice would be aware of their role as a gap filler. Consequently, I decided not to conceal this circumstance but rather to address it openly and chose Gap Filler as the exhibition title to emphasize its conceptual framework.
The term gap filler generally carries a negative connotation, suggesting a makeshift or inferior substitute. However, this evaluation calls for critical reconsideration, as the term, at its core, merely describes the fact that a gap exists and can be filled. Reflecting on gaps and their potential fillings highlights the omnipresence of intervals and interspaces across various contexts: gaps manifest in physical structures such as fences and teeth, in architecture, in landscape design, on surfaces like walls and paintings, as well as on biological substrates such as human skin and hair. This list could be extended almost indefinitely, illustrating the versatility of the gap phenomenon.
Semantically, the concept of a gap is complex, encompassing various spatial and conceptual dimensions. A gap can be understood as a void, crack, fissure, or any kind of opening. Accordingly, the approaches to filling gaps are equally diverse. These fillings may be subtle and imperceptible or deliberately exposed and aesthetically enhanced, as is often the case in jewelry design. The range of gap fillers is therefore remarkably broad, both formally and functionally.
Against this theoretical backdrop, Ela Nord invited 30 jewelry artists from Austria to contribute to this theme. The resulting works were remarkable in both form and expressive power. An intriguing aspect was that some artists already had pieces in their portfolios that, in retrospect, could be interpreted as gap fillers, even though this had not been their original intention. This coincidence opened up an additional interpretative space, adding an unexpected dimension to the exhibition. From a curatorial perspective, this surprising alignment proved to be just as enriching as the works that were explicitly created for the theme. This demonstrates that the concept of a gap should not be understood merely as a deficiency but rather as a productive space for artistic exploration and creative solutions.

Ela Nord, curator