ART Habens Art Review ART Habens Art Review - Special Issue #97 | 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
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, curator
curator