My artistic practice is based on an interest in thinking about painting in terms of materiality.
From the perspective of an expanded concept of painting, the question of painting can also be formulated in a more far-reaching manner: What is the pictorial presence in my practice? What is the origin of the materiality that is being worked with?
In my present work, painterly practice is not examined in the form of a specific media, but in the form of a specific material that is determined by painting and runs through different media and styles in the form of a “pop strand”.
My practice results from my access to popular culture, to the forms and materials that surround us. The focus of my experimental and investigative practice is working on a specific materiality that develops in the exchange between painting, ceramics, and digital media. Aiming at communicating between analog and digital materials, objects morph between media in search of intersections and analogies in the materiality and aesthetics of the glossy picture plane of a painting, the glazed surface of a ceramic and the “Liquid Crystal Display” of an iPhone.
Thumbs up! Daumen hoch! Dieses Emoticon ist laut Statistik das am häufigsten verwendete Symbol im Internet. Bejahung, Zustimmung, Erfolg: ausschließlich positive Assoziationen verbunden mit dieser Geste. So geläufig uns dieses Bild aus unserem digitalen Alltag ist, so ungewöhnlich ist der Anbringungsort, den die Künstlerin dafür wählt. Gloria Sogl hat in feiner Maltechnik eine ganze Hand samt rotlackierter Fingernägel und hochgerecktem Daumen auf die Sitzfläche eines Hockers aus Keramik gemalt. Im Sinne eines erweiterten Malereibegriffs denkt und erforscht die Künstlerin die Malerei nicht nur als bildhafte Fläche, sondern stets auch in Bezug auf Materialität. Malerei wird zur Form, nimmt Gestalt an und ist nicht mehr länger nur eine künstlerische Gattung aus dem Kanon der Kunstgeschichte. Tradierte künstlerische Techniken verbinden sich so auf erfrischende und innovative Art mit den Themen des Alltags und der Popkultur.
Dr. Teresa Bischoff, 2022
In summer 2021 I was living and working in the Untersberger marble quarry near Salzburg, Austria for one month as part of a residency. The quarry is still in operation, so large blocks of marble were mined and hauled away every day. After business hours I was able to wander around, touching and inspecting the marble blocks and walls.
I felt small and finite walking through massive stone that had developed over thousands of years, and was being sawn down in hours. I didn’t feel the need to sculpt the blocks; the block of white matter in-front of me felt far too valuable. Instead, I continued to go on my walks through the quarry, tracing cracks in the walls towering over me with the tips of my fingers, observing the enormous variety in structure, color tones and patterns. Walking on the marble chips and pebbles, I imagined myself stepping slowly on shiny marble floors. I was drawn between the marketability of the perfect, shiny satisfactory surfaces and the leftovers, the marble rubble, material riddled with cracks. I felt the need to fill and highlight the cracks, to draw attention to the part of the quarry that was not marketable. I choose a compostable mixture of powdered sugar and beetroot juice to rub and squish into the cracks.
At the end of the residency as part of the “open door” exhibition, the attentive observer could find my markings running like red veins through the flesh-colored rock while walking through the quarry.
In a group of seven students we started to create the basic framework for a collaborative video world in the winter months of 2020/21. This video world has taken the form of a virtual forest, which became both a meeting point and a collective space for artistic creativity. Along with the Corona crisis, we encountered great promises of a possible system change and, from isolation, we decided to collaboratively create a place that does not yet exist. In the form of a visually multi-layered 3D animation, the forest system becomes a virtual field of experience. This forest is created with painterly means that take shape in the form of computer-generated images and are translated into a 3-dimensional, animated system. This system is characterized by vitalism and communicates in its own language via color moods and glitches. The individual elements of the forest in “i am the system“ refer to different artistic approaches and are expanded in analogy to the collaboration of the participants. The forest world as a manifestation of a system in which it is less the individual trees than the connections and the exchange between them that is the sustaining factor.
Participants: Manoel Drexler, Jasmin Franzé, Theresa Hartmann, Jacklin Leidner, Nick Pschierer, Gloria Sogl, Teresa Wagner, in collaboration with Angela Stiegler and Alexander Mrohs.
The group contribution “i am the system“ was shown as part of the exhibition „Susanne Kühn. Malerei ONsite“ at Kunstmuseum Celle, 2021.