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Jana Schröder addresses the issue of the legitimation of contemporary painting – a claim that doesn’t just announce itself through an “attitude of subtraction”, but which relies on an image produced by the act of painting itself. She achieves this by creating an interaction of overlapping colors and layers of paint that create meaning not only on the basis of the gestures that created them, but also through their references to everyday acts of handwriting and scribbling.

In combination with her use of colors, Schröder uses the aesthetics of these practices to create spontaneous and original aesthetic effects. She uses oil paint to slowly transition initials, signatures, abbreviations, and curls onto a large scale canvas, and by doing so, she manages to isolate and highlight their sheer form. Thus, this work doesn’t only embrace the act of painting itself, but is
ultimately targeted towards aesthetic achievement.

Additionally, one ambiguous element remains: the background of the painting, although painted moreswiftly and gesturally, is blurred and becomes an echo of the work’s dominant protagonist, i.e. the final, slowly and consciously completed line in oil paint. The casual and en passant manner in which the scribblings appear on canvas is not only contemporary in its visual style, but also suggests an energetic overlapping of different levels of meaning. This unique quality points us towards important questions within the genre of contemporary painting.

Jana Schröder (b.1983, Brilon, lives and works in Düsseldorf) studied at the Kunstakademie Düsseldorf with Prof. Albert Oehlen. She has participated in exhibitions such at T293, Rome, Italy (2016); Natalia Hug Gallery, Cologne (2016); Hausreste, Haus der Kunst Sankt Josef, Solothurn, Switzerland; L‘aventura – Die mit der Liebe spielen, Palazzo Guaineri delle Cossere, Brescia, Italien; fine line?, KIT – Kunst im Tunnel, Düsseldorf and Spontacts, Mier Gallery, Los Angeles; Natalia Hug, Cologne. Schröder lives and works in Düsseldorf, Germany.