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Wednesday, 31 May 2017

TEXT:REVIEW_PRIVATE PAINTINGS 2017

Denise Reichenbach/Private Paintings: 2017



„Full embodied awakening is no walk in the park“ – im Falle der jungen Malerin Denise Reichenbach ist es vielmehr eine Weltreise in mehreren Etappen.
Denise Reichenbach ist eine Grenzgängerin, eine Wandlerin auf Pfaden zwischen den Welten: in Deutschland geboren, lebte sie in den vergangenen 8 Jahren in Australien. Fragen der Vergangenheit und Identität, der Wurzeln und Zughörigkeit, der Lebensaufgabe und Bestimmung stellten sich noch einmal ganz neu, als sie beschloss, für ein halbes Jahr in ihre alte Heimat zurückzukehren: In zahlreichen Stationen durchmaß sie Europa, Deutschland und schließlich ihre thüringische Heimatstadt. Mit beiden Beinen auf festem Boden stehend, der jedoch in zwei Kontinente gespalten ist. Auf der Suche nach ihren Wurzeln, kam sie in Kontakt mit einer weiteren Facette ihrer selbst, die sich in starken Bildern mit leuchtenden Farben und kräftigem Pinselduktus niederschlägt.
Beeinflusst wurde die in Ostdeutschland geborene Künstlerin von so verschiedenen Vorbildern wie Neo Rauch, Willem de Kooning, Goya, Cecily Brown, Hilma Af Klint, Basquiat, und Paul Gauguin. 

Im Gegensatz zur gegenständlichen Figuration der Leipziger Schule, mit der sich Reichenbach nicht nur durch ihre Biographie besonders verbunden fühlt, sind Form und Inhalt bei ihr zu einem symbolischen Expressionismus weiterentwickelt. Themen der Weiblichkeit und der Sexualität, der Gegensätze zwischen sichtbarer und wahrgenommener Realität und der modernen Dualität von privatem Raum und Öffentlichkeit werden in ihrem neusten Arbeitszyklus, der während ihrer Reise durch Europa entstand, weiterentwickelt.
Das Sujet ihrer Bilder wird nicht nur durch ihre besondere Position als Weltbürgerin bestimmt, sondern auch durch eine hohe Sensibilität und Intuition, die den Bildern eine metaphysische Tiefe verleihen.

„Spirituell“ und „weiblich“ sind Kategorisierungen denen ein Hauch Altbackenheit anhaftet.
Denise Reichenbachs Ausdruck hingegen ist ein universell gültiger, der in der Formensprache eher kantig als verschnörkelt wirkt.„ Je mehr du dich öffnest, je persönlicher Du wirst, desto mehr Schnittpunkte ergeben sich für den Betrachter, der seine ganz eigene Geschichte in den Bildern wiederfinden kann.“ Die Wirkung der Bilder ist kathartisch. Sie bringen Verborgenes an die Oberfläche, spiegeln und spielen.
Das Sichtbare der Oberfläche evoziert verborgene Gedanken und unbewusste, innere Vorgänge beim Betrachter, eben weil das Verborgene offene Türen in Reichenbachs kreativen Schaffensprozess vorfindet. Sie ist sich der Bedeutung der auf der Leinwand zu Tage tretenden Unbewussten vollkommen bewusst; sie weiß um die Sinnhaftigkeit des intuitiv gefundenen Symbols, dem Universalität zu Grunde liegt.
Wie eine Melodie, die man plötzlich aus der Ferne zu erkennen glaubt; wie die Begegnung mit manchen Menschen, die man schon ewig zu kennen scheint, ist es in Reichenbachs tiefgreifenden, lebhaften, nachklingenden Werken: ein plötzliches, unbewusstes Erkennen eines Elementes, einer Struktur, einer Empfindung... Diese Kunst berührt!

Katrin Richter- M.A. Kunstgeschichte

Berlin.



English Version


Fully embodied awakening ain’t no walk in the park!”. Rather in the case of Denise Reichenbach it is a journey across the globe. In stages, step by step. 

Denise is crossing borders, travelling between worlds culturally as much as geographically. Born in Germany she has been residing in Australia for over eight years. Issues like heritage, identity and her purpose in life came to the fore again when she decided to return home for several months, travelling across Europe, Germany and eventually heading to her native Thuringia again. With both feet on firm ground yet also on two different continents, searching for her roots she faced new aspects of herself, expressing this experience through lively colours and forceful brush strokes.

Born in the former German Democratic Republic (GDR), Reichenbach is influenced by artists as diverse as Neo Rauch, Willem De Kooning, Goya, Cecily Brown, Hilma Af Klint, Basquiat and Paul Gauguin. Whilst she feels a strong affinity to the objective Expressionism of the Leipzig School, not least also due to her attachment to the city itself, her own work has been shaped by a further development of this style into what could be called a symbolic Expressionism.



Her newest work was created while Reichenbach travelled across Europe and is thematically focused on femininity and sexuality, contrast between visible and perceived reality and the modern duality of private and public space.

Thematically the work is not just shaped through being a citizen of the world, at home on two continents, but furthermore through a certain sensitivity and intuition lending her paintings a metaphysical depth and quality. “Spirituality” and “Femininity” seem like categorisations carrying a somewhat outdated note. Yet in her works an expression finds shape that favours a sharpness and clear edges over more ornate and convoluted language. “The more you open up yourself, the more you delve into personal space, the more intersections make themselves evident to the observer who will discover their own personal story in these images.”  
As such the effect is a cathartic one. What lurks beneath comes to the surface and is being reflected, interacted with.
Offering an openness in her creative process is what enables Reichenbach to provide the observer with an opportunity to bring their own unconscious processes to the surface and into a visible realm.


Denise Reichenbach is fully aware of how unconscious thought surfaces on the canvas. Symbolism, a universal concept, is given meaningful shape through her work. Just like a melody, which draws recognition from afar or a first encounter with somebody who seems unnervingly familiar these creations produce a vibrant and sustained effect of recognition. Of elements, structures, sensations – these paintings affect, reach out and touch.

Translation: Alexander Luck





Sunday, 2 April 2017

BERLIn COLLECTOR RESIDENCY 11/16 - 02/17












































































                                           
                                             Heart of Berlin/ Lofty Spring/Fruehlingsgeist
                                                           2 x 1 m, Oil on Canvas, 2017.
                                                     Private Collection Berlin, Germany.

Friday, 10 March 2017

MAMA GARAGE/ WOLLE B./ GERMANY 2017.






                                                             X's and O's / Shamanic Heart.
                                                     2 m x 1.80 m, Acrylic on Canvas, 2017









                                                               
                                                             ' the announciation'
                                                          80 x 80 cm, Oil on Canvas, 2017.
                                                            Private Collection, Germany.
























Tuesday, 7 March 2017

HELLBENT MAGAZINE - FEATURE 2016.

CASUAL DATING MAKES ME ENORMOUSLY CONFUSED 

                                                                           
                                                 1m x 80 cm, Collage, Acrylic on Paper, 2016


FEMINITY, SEXUALITY, CENSORSHIP                                

Denise Reichenbach              

                                                                           

My practice is an exploration of all things unseen. I am interested in expressing a raw and pure reality, which emerges out of the stream of consciousness I find myself in while working. One of the main questions I am pursuing in my practice is the quest for uninhibited truth and what this means in our fast paced modern world. It is the search for the ultimate freedom of expression. How can we ever actually be true to ourselves, given that our modern society is very good at keeping us under an invisible cloak of bland uniformity? In my practice, I try to be very conscious about what filters through because of that very fact. There is an inherent level of self­censorship that comes with letting too much information in. Some influences can be so insidious and subtle they seep in like slow­moving poisonous gas, and as artists we need to have eternal vigilance so we can stay true to ourselves and the work.
  
The level of censorship in the arts and on social media around topics such as nudity and sexuality is quite concerning in my eyes. When we are starting to self censor, becoming our own inner cops, and we stop creating whatever seeks expression from within us, we have lost touch with our truth. This feels like the STASI in your head and nobody should ever feel like they can't express their own truth, just because other people are uncomfortable with it. I believe as artists we have a responsibility to tap into the hidden currents of our society. We are the ones who express the stuff nobody wants to see or hear. 

My influences have been varied. I am generally influenced by life and everything that comes with that. Life itself has so much potential for creativity. I also have a lot of painting heroes who have influenced my work immensely, such as Neo Rauch, Cecily Brown, Paul Gaugin, Hilma Af Klint, Willem De Kooning, Joan Mitchell, Goya, Rothko, William Blake, Edvard Munch, Max Beckmann and a lot of the Old Masters, as well as the German and Abstract Expressionists. 

My most recent work deals with themes of femininity, sexuality and censorship. I work very intuitively, currently using painting, collage, drawing and text as my preferred mediums. The work asks what it means to be a woman in a world where double standards are normal. A world where women are still being treated as the bad ones when they express their sexuality as something beautiful, something to be cherished. There is an intrinsic level of shame that comes with expressing the fact that you’re a sexual being. 

When did our bodies become such a minefield? 

In my current work I like to uncover the shame around sexuality and reveal the innate sacred beauty of two people connecting in the most intense and intimate way. And that is a beautiful goal to have, I think.


REVIEW- CULTURAL FLANERIE - RAW EMOTIONS.

Denise Reichenbach’s Raw Emotions

Born in East Germany prior to the Berlin Wall’s collapse, Denise Reichenbach brings a particular artistic sensibility to her work. A hybrid form of painting, drawing, collage and sculpture, her work swings between abstract and figurative composition, dealing with the complexity of human relationships. She incorporates strong references to her German background in history and art, but makes room for intuitive exploration through the conscious deskilling of her painterly technique. Her current series is a messy, chaotic and at times quite violent handling of the detritus of a long term relationship breakup. With unbridled emotion never far from the surface, this is a very raw exploration of what is hers and what isn’t in the world, seeking authenticity without being influenced by thoughts of success or outcome. Through her art practice, she is attempting to let the strain of heartbreak, confusion, femininity and the search for identity come to the fore, taking inspiration from masters like Willem de Kooning, Cecily Brown and Hilma af Klint to propel her forward.
In a career spanning over a decade, Reichenbach has exhibited widely, and taken part in several residences throughout Europe and Australia. Since emigrating to Australia in 2008, she has been a finalist in the Queensland Figurative Award, the Bayton Award, the Emerald Art Prize, the Martin Hanson Memorial Award, the D1 Kunstsalon in Leipzig/Germany and the Lethbridge Small Scale Award.  In 2012, Reichenbach was the recipient of a Highly Commended Award at the Brigalow Art Festival in Biloela. Now living in Brisbane, she has studied at the Academy of Visual Arts in Leipzig, the National Art School in Sydney and at the Queensland College of Art (QCA).
Reichenbach’s work is currently on view as part of The Ambience Store Project #6 until 5 September 2016.