Glitch Works, 2020-2022
In 2020 I started a work series that reproduced digital visual glitches in oil (on canvas) and pencil (on paper). It’s an aesthetics that originates in the misinterpretation of digital data — when files are saved corruptly, or their image data gets interpreted incorrectly. This series explores what happens when you apply this visuality to portraiture: after caring for years about compositions featuring many individuals, I wanted to turn my focus onto one individual at a time.
Works of this series were exhibited at the solo show “Salon #1” at Untitled Projects (2021), at WIKAM Frühjahrsmesse (2022) and at gallery twenty-six (2022), at Galerie Heimo Bachlechner (2022) — and they have been essential to my Trauma – solo exhibition at Museum Angerlehner (2021).
Three is a wonderful number when considering the passing of time: things begin, progress — and ultimately always end. Within and throughout, life offers space for endless events; myriad stories with shapeless facets.
That’s where trauma originates.
“Children not held in the minds of their mothers are lost, forgotten.”
(“Neurofeedback in the Treatment of Developmental Trauma”, 2014, Sebern F. Fisher)
The endless Yin and Yang mysteries
of not being