ART Habens Art Review - Page 130

ART Habens Hana Jaeger teasingly between the private and the collective. here we could publish some photos from your recent exhibitions) I would much appreciate having some photos of works from my recent exhibitions published. Thank you Perhaps this is the place to mention my work on cardboard boxes. In addition to my paintings on large size canvases I like to paint on cardboard boxes because who else are connected as much as they are to the subjects of my paintings being everyday items, always available, transient, marginal and unimportant. I collect them from diverse parts of the world and give them a renewed life. They're not used only as a bed for the painting, they're an integral part of the painting. The cardboard boxes are of various sizes ranging from the miniature, for mobile phones or jewelry, and up to the very large, for refrigerators, etc. And in effect they're more than paintings, they're objects. In 2013 I lived for several months in Berlin and then spent an Artist's residency at the Cite' International Des Arts in Paris for about six months. Because of the size of the studio and the inability to work in large formats, and because the bedroom was part of the studio, which prevented me from working in oils, I painted on paper and small cardboard boxes. These works can be viewed on my website. When I returned to my studio I switched to very large formats as if to release the energies accumulated in Paris. I continue adamantly to paint on both, canvas and cardboard boxes, since they stimulate and challenge me in different ways. The subjects of my paintings share a common secret. A secret known to everyone among secrets that are common knowledge. The common secret, all or nothing at all, is disturbing, not comforting. Beyond the secret's exposure the possibilities of discomfort are immense, little troubles, serious troubles, and immediate dangers. And the little person, or on the global level the nation, searches for its Superman. I believe in directing the spotlight to the place and stepping on the blister. Here I'm aided by the patches of figures with their bodily gestures, and with their colors on a chromatic scale of half and quarter hues intertwined and creating a misleading message. The figures are enclosed, each in a world of its own, as if they're unaware of their place in the described event, as also are the free expressive and unplanned brush strokes. While I'm working I don't consider the issue of audience reception, but when the work is completed I'm deeply moved when I hear what the viewer has to say.. This dialogue with the audience takes place frequently during the presentation of the exhibition and also through the social networks. (if you like Summer Special 2015 Issue An interview by and 23 4 05 , curator curator