Jana Röther Kunst und mehr

Delphine aus Frankreich in der Pinnacle Desert, 29.6.

Thomas - Germany, im Northern Olympic Pool, 16.5.11

Katie aus England - Port Stephen, 28.4.

Trine aus Denmark mit Flughunden im Royal Botanic Garden, 17.4.11

Christy, Australierin im Nielson Park, 16.4.11

Lena aus Germany vor dem Opera House 24.4.11

Louisa aus Germany im Darling Harbour, Sydney 11.4.11

Felix aus Germany am Bondi Beach, dem Surferstrand, 4.4.

Anne aus den Niederlanden in der Quadrangle der University of Sydney, 31.03

Annette aus Paris am Coogee Beach in der Felsformation Giles Bath, 07.03

Julia aus Germany mit Harbour Bridge, 14.03

The border between surrealism and Realism was always fascinating to me. I’ve been painting surrealistic landscapes, in which hidden objects can be found. For instance, in my oil paintings an aggregation of stones can form a human shape and once the viewer discovers the “hidden “object in the painting it becomes really obvious. After a while, I felt the urge to paint on three dimensional surfaces such as a human faces, rather than only on a two dimensional canvas, and disguise them in a real life situation. Not only causes the plasticity of the face to bring out a way of painting that doesn't try to create something threedimensional on a two dimensional canvas, but also it causes the painting itself to show contortions. These might be only small, but the defomation of a straight line, creates some sort of humoristic but also surrealistic image. However, if the viewer in real life, moves only a few centimeter, the face is not disguised any more at all. The painted image gets deformed from a different an
gle and thus only the photo from a certain angle represents the harmony of a good camouflage. Like in the military, where camouflage answers it’s purpose to help the disguised to survive, many humans adapt to their surrounding on a daily basis In the hectic life of the 21 century, people wear certain cloth, put on make-up, show some sort of appropriate behavior and do all of this just to fit in. But rather than to make something only disappear, I want it to become obvious and stand out. This is one of the reasons, why I started my face-painting project, in which I go out into the nature or city and create something on the spot and then take a photo of it when it’s done. While painting the background on the face, the person becomes more and more integrated with what is surrounding it. The model has some sort of personal connection to the background and may influence the decision where I do the facepainting. But in the end, it’s not only about showing the connection between the model and a particular spot, but also about the surrealistic image. The surrealistic image is an entrance, to a world, where imagination can unfold itself. For this purpose, I found out, that urban landscapes have a unique vibe,that is captured in the photo.

Friends in America im Sommer 2010