Beyond Eden 01. November 2013 - 28. December 2013

Oda Jaune’s art is characterized by an enormous and paradoxical attraction. An attraction that results less in the particular resonance a form has, but rather through a gentle disturbance of the subject. It is the biomorphic, the collaged, the abnormal, which ensure with amazing ease that her work continually evades the viewers’ grasp and in doing so binds these elements to them. As heterogeneous as the themes of the 40 watercolours and oil paintings – all created in the short period between December 2012 and June 2013 – may seem at first glance, they consistently follow Oda Jaune’s masterfully formulated strategy of attraction and withdrawal.The fascinating ambivalence with which Oda Jaune’s work positions itself in relation to the observer opens up a pictorial space, which is characterized by a remarkable potential for unrest. This unrest arises mainly from a form of restriction: Oda Jaune’s protagonists and motives arise from familiar imagery. In many cases Jaune finds them in freely accessible sources. The would-be promise of a clarification of what is being portrayed will however not be honoured. The familiarity of the motive is immediately undermined by inversions, deformation, elision, masking, or phallic-like growths. This moment of disrupting identification and classification attains in the viewer an even more sensitized perception for what is shown. In turn, this sensitized perception is urgently required to approach the problem of representing the invisible and formless.By pursuing the guise of the immaterial Oda Jaune’s work is based on a deep epistemic interest. To open up those spaces which make the invisible visible, Jaune exposes her figural or scenic compositions to a form of transformation of a wholly experimental character. When she pictorially deals with deformed bodies or exposed organs, her paintings always question the traditional modes of representation and the connotations of what is seen. As much as their almost physically tangible drastic force characterizes these paintings, they embody at the same time something profoundly beautiful and sublime. This dialectic moment affects Oda Jaune’s work time and again. It creates spaces of possibility, allowing the viewer a different perspective, which enables him to call into question what is normally seen. Jaune’s frequently used image of extroverting inner and outer is a proclamation of this space. Although both sides are initially clearly defined categories they enable, through the inverted illogical contextualisation, an insight into the hidden. The frequently seen connections between Oda Jaune’s work and the formal language of surrealism become at this point especially evident. It is this quest to open new visual and conceptual spaces, which connects her with this as well as other Avant-garde positions of the 20th century.Oda Janue searches with her work for an artistic form, which both as a language and as a medium refers to the invisible and the immaterial, and offers spaces in which to discuss them. Motivated by a deep interest in the condicio humana, Jaune’s paintings bind the viewer to them and ask him for an individual and subjective analysis of the image and ultimately of himself. Ansgar Lorenz

 

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