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Digitalworld

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First it was hours, then days, months and now years disappear in front of the computer. It is as insatiable as it is insurmountable. Day after day I throw out the net, into darkness of the pond, a slither of light here, some cast off resurrected from the mud there, all connected, all of interest.

It is a process of constant research, a linking of random connections bringing about random solutions. There is no defining point in art – it is all just process – pieces are shown not when they are resolved, but near enough some connectivity to the viewer.

The cloud, that the plane breaks through, a sign for a city below, like the graffiti on the back streets, full of imaginary projections.

Chat that is all too human in its banality, shorthand msg’s seemingly directionless, but spiraling in: a to b and back again.

Philosophic extracts: glib, beautiful, on generational refresh, like a starry night, the filmic edge of a planet, the crumbling of a cliff or leaves.

divx lawrence of arabia A digital image, found, re imaged, remade, returned.

Artist’ statement

In my perception of the Western technological world and of its art practice as a whole, systems of belief and perception are constantly under threat of collapse. In order to sustain stability and equilibrium people indulge in a paradoxical process involving simultaneous affirmation and denial. They are forced to reconcile and make sense of apparently conflicting discourses. The general objective of my work is to create sites analogous to these real life environments by using apparently depersonalised elements that also contain human connotations and connect with life experience.

Artist Statement

“Every new painting is the last painting, and the next one is always the first one. Artists must always create from scratch because they have to measure the basic hypothesis of their own creativity. The test is to see if the works still holds together and the challenge is to take it to a new direction”

— Extract by Andrew Frost for Ildiko Kovacs Catalogue Christine Abrahams Gallery 2005

In the past few years I have been pushing my work in a new direction, a process of rejecting whatever is familiar to my eye, rapidly reworking the surface. This way of working allows things to occur instantly and unexpectedly. A rhythm with the paint happens through intense focus. As many times the surface is wiped away more fragments and layering are left. Eventually the painting reveals itself and takes it’s own form.

— I.K. Nov 2008

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Nana Ohnesorge aims to develop a dialogue concerning the iconic, and its significance to collective memory and identity. Collage-like elements of juxtaposition, layering and transparency are translated into drawings and paintings, or transformed into cohesive sculptures, appropriating features of historic Romanticism, Surrealism and Pop Art.
Elements of randomness, collision of contrasts, tension, and psychological and symbolic associations highlight issues such as the human condition, the passing of time, the fragility of existence, and the impermanence of structures in the face of history.

Janet Laurence’s work stands in the liminal space of architecture and art, and nature and building. It engages on multiple planes, of intellectual, aesthetic, and haptic experiences. It explores nature at its most fundamental levels. It is intensely material, yet it can be illusionary and referential. It is documentary, telling of history and prompting memory, yet immediate in being phenomenological and encompassing. It is involved with rites of passage and the experiences of the human body. It evolves through time as well as space. The subtle encounters Laurence offers produce binding threads knitting the thoughts and the body to place.

Laurence’s art celebrates the beauty and tragedy of the natural world in its intersection with the man-made through artist + environment interactions. It is an art of critique of man’s acts, the retrieval of memory, and a healing collaboration with the physical world. It is an optimistic art with faith in the generative powers of redemption, and the ability of art to mend.

— Jennifer Taylor 2000