dark collages
2019
mit Susanne Thiemann
Dark Collage is a 28-part series of collages (2018–2019) measuring 40.0 x 30.0 cm, black construction paper with line drawings in charcoal, oil and occasionally coloured pencil. The works are mounted in artist made frames.
Although there is no fixed chronology, one could place the drawing of a gnawed apple at the beginning. Many may think of the story of Adam and Eve and their expulsion from paradise. Gone was the cotton wool age.
Judith Egger's cartoon-like drawings, spiced with a generous dash of legendary British dark humour, tell of this power. It is an ongoing series that began in 2018. Although there is no fixed chronology, one could place the drawing of a gnawed apple at the beginning. Many may think of the story of Adam and Eve and their expulsion from paradise. Gone was the cotton wool age.
All the better: for with it, humans had gained the freedom to throw themselves into the joyful burden of life and unleash their enormous energy potential. Some of this bursting energy has found its way into Judith Egger's drawings: amorphous masses swell, bulge and push in all directions in order to grow and develop. But they don't have it easy – geometric structures put up quite a fight against the developmental urge of the swelling mass of life. They set the direction and keep the untamed “live force” in check.
Admittedly, primal energy has something excessive and unbridled in its nature, which can be destructive. That is why it cannot do without control and guiding structures. A certain degree of order is definitely desirable. But too much control and rigid rules are not conducive. They constrict and put an end to free development and self-realisation. Let's take a look at Judith Egger's living erectile tissue: when put into a corset, it loses its “juice” and power.
Some of this bursting energy has found its way into Judith Egger's drawings: amorphous masses swell, bulge and push in all directions in order to grow and develop.
Admittedly, primal energy has something excessive and unbridled in its nature, which can be destructive. That is why it cannot function entirely without control and guiding structures.
But too much control and rigid rules are not conducive to this. They restrict freedom and put an end to free development and self-realisation.
The power of life's joyful burdens is becoming less and less apparent in our society. For some time now, we have been moving towards a security-conscious society that attempts to eliminate any risks. Control systems offer protection, and new optimisation options are constantly being tested. Elan Vital looks different. Judith Egger closely observes this development, in which life is becoming increasingly constructed and controlled, but less and less lived. The unspoilt natural world and the man-made world of culture are drifting further and further apart. The artist's observations flow into works that are often imbued with a wonderful irony.
Let's take a look at Judith Egger's living erectile tissue: when put into a corset, it loses its “juice” and power.
Judith Egger closely observes this development, in which life is becoming increasingly constructed and controlled, but less and less lived.
