Images in Motion
Page 3/3
Like a marriage, an image of a landscape emerges during the act of seeing. It is not a given, but arises from the interaction.
The images become a feast for the eyes and “landscape” a metaphor for seeing and feeling. The artist’s gesture resembles eloquent concealment. Here lies the imaginative strength of the images – a game between assumptions and visibility.
The surface structures vibrate and open blurred fields of vision. Their relation to objects can be named with terms like “sky”, “sea” and “distance”, which are diffuse themselves, because they are also not objectively tangible.
So, does one bring sky, sea and distance into the room as a collector? No, but instead the painterly and graphic reflection of these “eternal” phenomena, created by an artist who makes the sound of nature perceptible in pure painting that does not represent. Jakob Böhme wrote, “The inner heaven (sky) lights the external one.” This is also true in reverse.
UNIQUENESS
Painting, which places value on its peculiar qualities and wants to fully play them out, will continue to remain a subliminal fight against its reproducibility.
Therefore, through its very existence, each painting is an invitation to come to the place where it is located in the original: Unique and without representatives.
In this way, Rave contradicts modern habits of dealing with reproductions, complicates the mediatization of her images and insists on a dialogue between her work and the viewer. She contradicts these handling practices, which have become taken for granted, and all the more, the less she relies on the emblematic and contours, and allows the works to emerge in monochrome paleness.
Although reproductions are now at the highest level of technical possibilities, they are proof of the impossibility of representing painting. And even more so since Rave’s paintings are concerned with a positive alliance between conceptual basic conditions and sensuous view, which subtly emphasizes the real effect of painting – its irreplaceability.
We can only feel and recognize this while standing in front of a work.
Unlike faces and houses, which we can easily remember, it is difficult to remember the surfaces of Rave’s images.
We are reminded of a specific atmosphere, of a certain mood, thus to categories to which the images are indebted that have to do with common experience.
Images in Motion
Page 3/3
Like a marriage, an image of a landscape emerges during the act of seeing. It is not a given, but arises from the interaction.
The images become a feast for the eyes and “landscape” a metaphor for seeing and feeling. The artist’s gesture resembles eloquent concealment. Here lies the imaginative strength of the images – a game between assumptions and visibility.
The surface structures vibrate and open blurred fields of vision. Their relation to objects can be named with terms like “sky”, “sea” and “distance”, which are diffuse themselves, because they are also not objectively tangible.
So, does one bring sky, sea and distance into the room as a collector? No, but instead the painterly and graphic reflection of these “eternal” phenomena, created by an artist who makes the sound of nature perceptible in pure painting that does not represent. Jakob Böhme wrote, “The inner heaven (sky) lights the external one.” This is also true in reverse.
UNIQUENESS
Painting, which places value on its peculiar qualities and wants to fully play them out, will continue to remain a subliminal fight against its reproducibility.
Therefore, through its very existence, each painting is an invitation to come to the place where it is located in the original: Unique and without representatives.
In this way, Rave contradicts modern habits of dealing with reproductions, complicates the mediatization of her images and insists on a dialogue between her work and the viewer. She contradicts these handling practices, which have become taken for granted, and all the more, the less she relies on the emblematic and contours, and allows the works to emerge in monochrome paleness.
Although reproductions are now at the highest level of technical possibilities, they are proof of the impossibility of representing painting. And even more so since Rave’s paintings are concerned with a positive alliance between conceptual basic conditions and sensuous view, which subtly emphasizes the real effect of painting – its irreplaceability.
We can only feel and recognize this while standing in front of a work.
Unlike faces and houses, which we can easily remember, it is difficult to remember the surfaces of Rave’s images.
We are reminded of a specific atmosphere, of a certain mood, thus to categories to which the images are indebted that have to do with common experience.