Excellence in detail and perfection in manuel technique are the hallmarks of Marina Schulze’s reputation she was building up over years. Having been studied with Katharina Grosse and even more intensively with Karin Kneffel, of which she was one of her first master pupils, Marina Schulze chose the „surface“ as her permanent theme for painting, Working in series, the surfaces of hair, skin, tattoos, chocolate mushrooms, water or clouds, among others, were so far the subjects to be painted mostly on canvas of all sizes starting from below 30 cm up to large works reaching up to 600 cm in width. For Marina Schulze the matter of surface was never restricted only to the most upper layer of a material. She understands surface always as a three dimensional structure or room, and painting this room means to include happenings above and below that surface. For painting she uses a photography as the origin of her motives comparable to the area of photorealism from the early 1970s which might allow to exploring more details than one would normally recognize. Marina Schulze was never interested in the pure copistic reproduction of naturally occurring details. Moreover, her primary focus is laying in the fundamental exploration of the relation between image and object, original and pictured, reality and visual perception. She is continuously confronting her painterly skills with new ways of image alienation. For instance, from early on she used magnification of cutout details from the whole image in order to provoke an abstracting process from a naturalistic origin. Lately, she uses complex light, colored beams or movieclips to be projected over a face or a naked body to create a complex pattern of amorphous shadows and lines on a three dimensional ground, which become visually so prominent throughout each painting that the underlying body dissolves to nothing more than the reflection zone of light.
In DREHPUNKT, Marina Schulze likes to play with the perception of images by intentionally letting open the question of the perfect orientation of a painting. Depending if one looks to painting straight or upside down, each way the image offers a different perception and association. For instance, an image of a running water in one direction might implies waves, at the opposite directions the waves might appear as a vortex.
Despite the sophisticated theory between image and original, Marina Schulze’s paintings always fulfill one fact, they are great paintings in a classic manner.
Upcoming show: Felix Weinold opening on November 28th, 2017.
o.T. (A V), 2017
Oil on canvas, 140 x 170 cm
O.T. (W P III), 2017
acrylic on canvas
140 x 230 cm