[...] “Slightly irritated, one realizes that the artist intends to pin our gaze to the explicit surface of her atmospheric images. Seduced by a translucent, blurry appearance we look into the image suddenly noticing that it is not possible to virtually dive inside the scenery completely, as spatial dept is only defined to a certain point. This generates a kind of sublime flatness which is captivating on the one hand and somehow refusing the eye of the beholder on other hand.
[...] The resulting aesthetics strongly refer to our medialized viewing habits. Although working with brushes, the artists concious renunciation of visible brush marks underlines this artificiality. A restrained palette and the absence of any narrative content makes the painting appear to have fallen out of time. By evoking a timeless archaic universality and familiarity at the same moment the image reflects the viewers own position in the cosmos. However, the analogy of the ambivalent relationship between man and nature in the era of Anthropocene, is not intended to be read as a moral message here. The artists interest is rather located in the conflict of longing for – and alienation from nature, as well as the feedback effect of our digitally shaped surroundings and our own perspective on nature. [...]
Anne Simone Krüger, Art Historian (MA) / Everland, Catalogue, published by Galerie Heckenhauer 2020 ︎ISBN 978-3-9821851-4-9
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Verena Hägler, Thomas Lomberg, Joe Clark