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i m thinking about these things through the lens of performance as actions of the body that the viewer is not always privy to sometimes we only see the resulting object thinking of things this way automatically creates distance and desire to be reminded as the viewer that you are getting a glimpse into something but not seeing everything please view adam milner s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ leave a comment january 6 2016 painting with chance jenny brosinski on giving up control and inviting erasure jenny brosinski pummels her viewer into a state of emotional resonance with intoxicating pinks and lightning yellows dichotomously painted over a surface of raw faded canvas building on sensual marks and spray painted poofs brosinski layers her paintings by bringing them to her laundromat where in a post cagean play on chance she washes and dries them to create the striking appearance of chromatic distress that dominates her work she works in a mad rush producing six or more pieces at once in a tornado of painterly action rivaled only by the creative energy of the berlin neighborhood where she resides the result is an eccentric range of aesthetic sensibilities and paintings that are outfitted with magnificent personalities brosinski who holds a postgraduate degree from weißensee academy of art lives and works in berlin germany she is a 2015 recipient of leipzig s pilotenküche residency and member of the 2014 berlin art prize shortlist paul weiner tell us about your studio and the way you work there jenny brosinski my studio is a nice bright place on the third floor of an old factory in berlin wedding there are many other artists on the grounds but also many people doing totally different things on the second floor for example there is a mosque if you ask me about my studio and the way i work there you have to know that my working method has a lot to do with contemplation which surely applies to a great member of artists too but often i am sitting there for hours only looking and thinking i do that as i remember since i was a little girl from two years old steadily since that time i have been looking for a calm place with no toys or entertainment so as my first studio i found the second bathroom on the first floor of my grandparents house which nobody normally used during the day sometimes it feels like you are here alone thinking or dreaming i like that now a few years later i have my own studio and i think it s still the same even if i have my notebook with me just in case i like that place where nobody will come in disturb or cop me i am not the kind of artist who is painting all the time i work in waves doing different things at different times and i need most of the time to look at things to feel what they do to me or don t then i paint quickly this is a shame because i really love painting often i paint more than six paintings at the same time paul weiner i ve noticed that your paintings are often unstretched and unprimed when you are working on them why do you do this jenny brosinski when i have finished my paintings after some weeks of living together with them i take them off the wooden stretchers and bring them to the laundromat where i wash and tumble dry them it s hard to surprise yourself perhaps this is the reason that i am not interested in celebrating myself with every brushstroke i make that is really important for my working process i love to destroy to lose control to react to something this is the point where my paintings get unstretched and unprimed in my work also the canvas changes its materiality when it is washed and dried it looks and feels a little like bedclothes and at the same time it reminds me at graffiti landscapes and old surfaces paul weiner many of your paintings contain pastel colors is there a reason for this kind of color palette jenny brosinski certainly i have my own favorite color palette like most of us but the washing process also decides what happens to the base coat colors so for sure i am interested in those kinds of colors because they are washy and symbolize the past for me in contrast i use strong colors for my final intervention likewise i observed that different colors react different to the washing process but i try not to get influenced by this information i think it is important that i am only interested in to making a good painting first whatever that means to any of us and as a second step i have to destroy it that s part of the game to erase something that you really set store on after i finally paint notations on i stretch them this is a special moment for me a little like a metamorphosis in the end it becomes a painting again telling you a story of trying to remember or misremember something paul weiner you mentioned your interest in keeping a calm studio do you also find your paintings to have this sort of calm to them jenny brosinski this is a difficult question i ve never thought of it that way before but i don t think so i think i use this kind of calm or quiet to offset parts of my inner personality whatever that means paul weiner i like the idea of surprise in your painting process being achieved by washing away the paint as an act of erasure when did you start washing your paintings jenny brosinski i think i first started in 2012 13 with showering my paintings but only for a short while because i got really frustrated about the control i had in this process after that experience i started washing my paintings with machines paul weiner tell us a little about living as an artist in berlin today and how this place has impacted your artwork jenny brosinski berlin is for me the only city in germany i want to live in my decision to move to berlin came nine years ago and it was a practical one berlin was one of the cheapest cities in germany with interesting immigrants artists from all over the world and a lot of culture so i moved to berlin in 2006 it was a good decision even if the rents are higher and it s overcrowded with artists now everyone is or becomes an artist in berlin anyway i got lucky and berlin has supported me with fellowships culture and an interesting art scene so i can become more and more professional in my work i often ask myself if the city i am living in has impacted my artwork i think maybe my preference for spray paint is due to berlin s street art stuff that i come across everyday what i really love is that every hood in berlin is different and has it s own rules wedding my working hood for example is strange but honest and makes me feel grounded paul weiner the market for contemporary painting has been very strong as of late it s becoming common to hear critics and artists alike saying that money is now influencing art to make it trendier or more easier to sell do you ever feel impacted by the market s demands jenny brosinski no paul weiner a large contingent of art critics are referring to contemporary abstract painting as zombie formalism the most recent venice biennale focused heavily on conceptual art as a contemporary painter do you feel pressured or tempted at all to move into other art forms such as sculpture video and installation or are you dedicated only to painting jenny brosinski for me it s not interesting or useful to jump on a running train even if critics invent interesting neologisms for my kind of painting it is not my job to think about something like that i am painting they re writing everybody should do what they re best at to be focused on my work includes being honest with myself as well as with the material i have to use so if it would be important to use video or installation for myself and my artwork someday why not as an artist you should have the freedom to do whatever you want even if the market for contemporary painting has become very strong i am a painter painting paintings please view jenny brosinski s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 1 comment september 23 2015 gert scheerlinck painting with materials gert scheerlinck s paintings extend into the field of material interventions through which he studies the poetics of everyday life scheerlinck presents found objects and arrangements that approach conceptual ambiguity allowing for open interpretation while offering intensely minimalist aesthetics reminiscent of arte povera splitting the difference between painting and sculpture scheerlinck complicates his found objects by entering a world of intense yet blasé anecdotes commenting on the fabric of society he revitalizes discarded materials to catch his viewers in a web of imprecise or displaced signifiers and develops tension in a reconstructed banal conversation scheerlinck is an artist from belgium who has exhibited his work at museum m in leuven belgium campo site ghent belgium patrick studios leeds uk abk aalst belgium entrepot fictief jan colle galerie ghent belgium flux factory long island city ny usa and in a variety of other international spaces he has upcoming exhibitions at bozar de l abattoir in bergen netherlands opening october 17th and at oude beurs in antwerpen belgium opening october 21st critique collective previously interviewed scheerlinck about his early paintings before he transitioned to a material based practice further images of scheerlinck s artwork can be found on his website paul weiner since we last spoke you made a transition to a largely material based practice could you explain what prompted you to stop using so much paint or at least to use it differently and pursue the assemblage of materials and objects gert scheerlinck as you know i m trained as a painter during the training the most important tools were canvas and paint the canvas could be replaced but painting without paint was not addressed during my education even after my training paint remained a way to express myself for quite a while when you interviewed me the first time the canvas was already replaced by non artistic material but i could not let go of the paint yet the real turn came when a curator asked me about the importance of paint in my work at that time material had already taken a prominent role and the paint was incidental that was the moment i started to see painting differently i still apply the same principles but i replaced paint with materials and the interaction with space is even more intense now i paint with material paul weiner do you expect your viewers to have the same thoughts or interventions with these materials as you do gert scheerlinck absolutely not every material evokes some association or arouses certain feelings i often refer to daily life the natural environment cultural stratification relationships and contradictions but this does not necessarily correspond with the viewer the interpretation can vary from person to person because my work is suggestive my work is often described as poetic an art reviewer formulated it as follows each of these art works are an image of life itself in small and higher expectations in dreams and nightmares in findings and concerns the artist profiles himself as eyewitness of everyday life i couldn t say it better myself paul weiner where do you usually find the components for your work and how does this impact the meaning behind the assemblages gert scheerlinck actually i m not even consciously looking it seems rather that the objects find me in one way or another they grab my attention through their shape color or texture and of course the object must also evoke suggestions to me most people think i have a studio full of smelly and dirty stuff nothing is less true i just pick up the objects i feel connected with the object must speak to me it s hard to explain it is a feeling a kind of sympathy an understanding it feels good or it doesn t the place where i find an object is of interest to myself but it has no effect on the final assembly this encounter is needed because i want to bring back that what is removed from society paul weiner though you have moved away from using paint in your work some of your pieces still reference art materials for instance in untitled slippers you rest a pair of slippers against a bent canvas that has been stretched and primed other works though totally eschew art materials after your transformation in moving away from paint how do you feel about the removal of any traditional art making materials gert scheerlinck the piece with the slippers you refer to can be considered a transitional piece the broken canvas does indeed refer to my past as a painter the slippers belonged to my wife the one who supported me in my career choices she understood fast enough that a canvas was limiting me and motivated me to go beyond the obvious in that way she played an important role in who i am as an artist when the word canvas was mentioned i felt ill at ease because it needed to be used in its original meaning in this piece of art i don t use the canvas in its original function but as mere material with a connotation to painting that s a big difference i found distance from the use of canvas and paint in their traditional means to create art from a different approach in that way i don t see why i should take full distance or never use them again paul weiner as you mentioned your work can reference life the environment and cultural stratification since you are using found objects do you allow the objects speak to their own implicit politics or are you constructing stories out of these objects that serve your own political views gert scheerlinck every artist working with materials needs to be able to feel the material both physically as well as emotionally there needs to be a kind of affinity with the material i never start working with the object right after finding it it stays in my studio for a while i observe and scan its form and color its emotional value memory or happening and this takes time when in time the object can be on its own and tell its story i don t have anything to add i need to accept it as ready made e g mattress in other cases i work on the object and create my own story i scan it and transform it by combination or deduction often i put hard against soft or warm against cold i search for dialogue a good example is in transit a recent artwork where two objects a chain and a piece of tire form a relationship the tire symbolizes a movement towards the future the chain refers to the past dragging along the burden and desire to break out of the routine on the other hand it is also symboliz...
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