Der Feigheit ihre Kunst, der Kunst ihre Feigheit
Material/Technik: Acryl, Kreide, Edding, Bleistift; Buntstift auf Büttenpapier
Creditline: Artothek des Bundes
My work decodes and comments on the status quo of conflicting and contradicting strategies of the interface between recent social phenomena ( s.a. Art as economic time base, retreating to elitist realms, Angst, hyper‐ individualism, new forms of privacy and public life etc.) and the individual: What reoccuring trends and social phenomena are we subject to ‐ to which extend our behaviour is artificialized by normativity ? Do these phenomena alter our mindsets , is it the other way round, or does the alteration happen reciprocally? Fashion, status symbols and social media enable to encode social demarkation. My works display the tension between the imagery and the actual, a tug of war. Irritation and inconsitency of existing realities is mirrored by using different medialities, style citations and formats. Language (titles, writing in paintings) is another instrument to add up to the humour and the confusion. Yet, in its dadaistic essence, my work is a subjective narrative.
Influences reach from philosophy to literature (e.g.Goodman, Sennet, Kristeva, Chomsky, Charkravorty Spivak, Klein...), artistic influence can be linked to individual artists as well as genres: Basquiat, Doig, Kitaj, Lassnig, Shrigley,Kosuth, DADA, Art Brut...
The picture “ Der Feigheit ihre Kunst der Kunst ihre Feigheit” refers to the famous Klimt quotation ( Der Freiheit ihre Kunst, der Kunst ihre Freiheit) and simultaneously projects what seems to be happening with Klimts insinstence: more and more artists find ones beartings in the market rather than the critical analysis of social background. Where is the corage?
Everybody behaves‐ This cowardness is is displayed in the picture by showing somebody who finally has decided to jump in a pool but faces away from it‐ sad and bad.