Transparencies

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In the „Transparencies“, set pieces from photographs, drawings or paintings are digitally and graphically processed, newly combined with one another and then colored foils are superimposed in many different layers – and sometimes reworked by hand in a final step. There are luminous pictures of great intensity and at same time of high fragility – transparent pictures; the „Transparencies“ ( Dr. Karin Wendt)

Set pieces from photographs, film posters or advertisements are digitally and graphically combined with each other and then overlaid with colored foils in many different layers. Layers on top of each other – and sometimes, in a final step, edited by hand again so that luminous, striking images of great intensity and, at the same time, of great fragility – transparent images are created: „Transparencies“.

The Transparencies allow our gaze to penetrate into ever new levels, without us being able to distinguish the one separate one from the other as a background or background. Unlike in traditional, perspective pictures, there is no „space as a container of things,“ no background for the motif, but both background for the motif, but both appear mutually permeable. Light color areas bring the subject close, drawing it clearly and accentuated, while dark areas create depressions and indeterminate shadow zones. Thus, despite their parallel structure, the images do not appear flat, but rather restrained and moving, like the memory of a film like the memory of a film, a photograph, or an encounter.

And also in a figurative sense, the background remains open in the Transparencies. Is this a known model, the face of a certain advertisement? What is the relationship between the words cut out of newspapers that frame her face relate to the image? Are they commentary, and if so, what kind? Are the young woman and the man on the phone part of a famous movie scene? Famous film scene, do we know the film? Or are they from different contexts simply brought together in a new image?

The aesthetic quality of the works lies in the fact that, on the one hand, they allow such projections, even seduce us to do so, by specifically stimulating our popular cultural memory, but that they do not but that they do not exhaust themselves in this. They remain narratively open, they remain permeable in terms of content, and in this way they direct our interest back to the manner of the artistic montage.

In another group of works belonging to the Transparencies, it is not people but floral motifs that form the subject of the work. Floral motifs form the subject of the picture. Contrasted with poisonous green and violet color foils, films, which, like the negative of a color film, are superimposed on the black-and-white photographs, which are set in acrylic dioramas of exotic finds are created. The plants become ornamental signs of a strange, artificial nature.

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