Jenny Brosinski (*1984 Celle, lives in Berlin) designs minimalist image structures with an abstraction – touching the here and now, her subjective perception and memory – including isolated figural elements, inspired by the simultaneity of urban dynamics and the associated semiotics of metropolitan places, images and codes.
Her paintings demonstrate a radically reduced, loose approach: Splashes of color in neon, particles of dirt, rampant doodling, isolated lines, small notations, scratches, smudges, overpaintings, and olive oil stains are coolly arranged. Everything suggests a quick, spontaneous, perhaps even willful careless creation. The refinement lies in the floating balance of the pictorial elements in relation to each other, which Jenny Brosinski brings about through an cautious, process-oriented approach.
The process of action and revision, of an entirely physical adding and subtracting, is an essential component of her painting. An approach with the canvas with fingers, brush or spray can is followed by a deconstructive further development. With a convinced “yes” to the intentional, and yet also playful pentimenti, in the artistic struggle with lines, forms and color surfaces, single parts are repeatedly annulled – by washing off, wiping away, painting over, or demonstratively crossing out text or image elements.
Often only trace-like residues of liquids and pigments remain on the surface. Breathed on, watered down, traces of use. Jenny Brosinski’s formal reduction is a consistent result of her fascination for the sensual qualities of the materials used.
Jenny Brosinski (*1984 Celle, lives in Berlin) designs minimalist image structures with an abstraction – touching the here and now, her subjective perception and memory – including isolated figural elements, inspired by the simultaneity of urban dynamics and the associated semiotics of metropolitan places, images and codes.
Her paintings demonstrate a radically reduced, loose approach: Splashes of color in neon, particles of dirt, rampant doodling, isolated lines, small notations, scratches, smudges, overpaintings, and olive oil stains are coolly arranged. Everything suggests a quick, spontaneous, perhaps even willful careless creation. The refinement lies in the floating balance of the pictorial elements in relation to each other, which Jenny Brosinski brings about through an cautious, process-oriented approach.
The process of action and revision, of an entirely physical adding and subtracting, is an essential component of her painting. An approach with the canvas with fingers, brush or spray can is followed by a deconstructive further development. With a convinced “yes” to the intentional, and yet also playful pentimenti, in the artistic struggle with lines, forms and color surfaces, single parts are repeatedly annulled – by washing off, wiping away, painting over, or demonstratively crossing out text or image elements.
Often only trace-like residues of liquids and pigments remain on the surface. Breathed on, watered down, traces of use. Jenny Brosinski’s formal reduction is a consistent result of her fascination for the sensual qualities of the materials used.