For her galerist, Anna Klinkhammer, the painter Andrea Lehmann has filled a small closet with paintings â€“ even on the ceiling â€“ which simulate a cosmos reminiscent of a stage set. The small room is the heart of her exhibition â€śStuffed Diamonds.â€ť In the vein of pulp magazines bearing science fiction, gothic or fantasy covers, the thirty-year-old artist portrays a laboratory in which a young photographer focuses in on aliens. Her medium has tied her to a chair. The aliensâ€™ huntress appears with a camera before her face amidst a display of stuffed birds, deer, branches and poisonous mushrooms.
Behind these dummies is her â€ślaboratory,â€ť painted in somber yet luminous hues and with hyperreal effects. The scenery closes in on the viewer with dynamic as well drawn as an action comic and as true to nature as a house of horrors at an amusement park. But the storyâ€™s determined wildness and the arrangement of the paintings, crowded with motifs and placed along the walls with deliberate imperfection, lastingly undermine the naivety of the worksâ€™ fairytale-like narrative with the title Faked Proof (Stuffed Diamonds). Decorated with a few real branches and lit by a disco ball, the cave of paintings becomes a complex puzzle of fakes and illusions.
Structurally similar are large-format paintings such as Jelly Goddess or the panorama Diamant Technik, which is made of two stretchers as wide as a movie screen. These, too, are less like film stills and more like a moment at which the plot explodes. Andrea Lehmann can spell out her girlish myths motif by motif to make a story. More than anything, the shimmering giant crystal and the horrible jellyfish arm or black vampire blood are elements of virtuoso painting that uses photo-realism, abstract color progression, extreme perspectives and classic composition to effortlessly produce a thrilling drama.