Svenja Deininger (1974) is reflecting about the possibilities and limitations of painting in the Factory. Her examination is articulated in a specific handling of the materiality of the picture support, the primer and color to create form and space.
painting after painting: svenja deininger‘ s works reflect the manifold problematic issues and crises of art in an era of technical images, making them productive as a creative impulse. the artist questions materials, methods, and apodictic demands for the representational and abstraction and derives aesthetic solutions from these conflict situations. she is not concerned with achieving a fake artistic harmony, but with understanding the dissonances implied in modern painting as an integral part of her world.
svenja deininger frequently uses different priming coats that produce a surface tension in her pictures and influence their coloring – a modular approach which relies on colors for atmospheric purposes either in order to achieve some kind of balance or to provide a counterweight.
despite its explicitly non-narrative character, svenja deininger‘ s painting seems to unfold mysterious pictorial spaces. sometimes one feels like looking through a window at a light-flooded scenery as in an edward hopper picture; occasionally, the viewer is confronted with an illusion of spatial depth through sharply contrasting light and dark tones and the combination of geometrical patterns. „i use different methods of painting in one picture, which exist side by side. i do not pursue them further sometimes and destroy their results until they suddenly combine again“