Selected works by Corinne Wasmuht

Corinne Wasmuht
Siempre Es Hoy


Oil on wood

261 x 434 cm
Somewhere between the digital and the analogue, Corinne Wasmuht’s mural-sized paintings stun the viewer with their enveloping perspectival composition and jagged explosion of colour. Wasmuht’s work finds its origins in imagery sourced from the Internet which she collects, re-arranges, and then paints onto wooden panels in multiple layers, whose detail is apparent only when the viewer comes closer to the work. Layer upon layer of varnish adds brightness to her colours, suggestive of the backlighting of HD televisions and computer monitors.

Wasmuht’s paintings create a unique kind of illusory space, both abstract and fixed in recognisable form, and somehow almost tangible. Repeated shapes and colours in her paintings hint at a sense of mise en abyme, of infinitely multiplying mirrored images, reflecting the vastness of networked culture and a never-ending insatiable yearning for images and information.

Siempre es hoy (2010), a monumental oil painting on wood over four metres wide, is like a cinematic projection, larger than life in dimensions and overwhelming to the viewer with the collected data it contains. Dominating the left-hand area is an ambiguous shape that could be a seated human figure, gazing over an infinitely unfolding could-be cyberworld in whose imaginary planes this being is embedded. Wasmuht has spoken of wanting to step into these spaces, ‘to live inside as in a real landscape… The painting is all around me; it encircles me completely.’

Dissolving spatial boundaries, her work invites the viewer to reconsider our relationships with all kinds of spaces, from urban panoramas to natural landscapes, to absorb a sublime sense of everythingness all at once.


Corinne Wasmuth - Exhibition at Meyer Riegger

For her pictorial ideas Corinne Wasmuth collects images of daily life, science and art to form these into a new whole. This gives birth to stage-resembling productions with references to contemporary contexts.

The painting 'astronauts', that will be in the focus of our exhibition, is for example about the sight into a grotto. There are cristals in the inside of the grotto, that grow from the ground and the ceiling, in which dangling astronauts are captured like insects in amber. The metaphore of the grotto refers to the creation of an own fictional world - this figure can be found in other positions of contemporary art as well. This intention is reinforced by the size of the paintings. The motives become a physical opponent and assert in the reality in which there are placed.
Finally the colour marks the transition from pictorial search to actual painting, here the second part of Corinne Wasmuth�s work is refered to. The paintings are developed on carefully grounded wooden panels onto which oil varnishs are applied. The oil paint is applied in many layers. This results into a strong brightness of the colours - awakeing the impression of a backword illumination. In opposition to Corinne Wasmuth's pictorial worlds stands the controlled controlled colour application not showing any characteristics.

I want the paintings to shine from inside. The colours are shining most with varnishs, and the grids reinforce the impression. Now I'm trying to say something rather difficult to put into words rather my feeling than a strict concept: When a being dies, colour fates away. The dying plant turns brown. When a human being passes away the body turns waxen. The body is the colourless exterior that remains this side of life. For me colour represents the other side of life. Thus, life is the other side of life on this side of life for me personally colour represents life The other side colour illuminated from the back, from church windows to TV and the computer-monitor we love so much because here colour seems to be alive without a physical body.

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