“Good, true, beautiful”: in conversation with Janes Haid-Schmallenberg

I wanted the paintings to be like a print of my mind onto the canvas instead of a proof that I know how to paint.

In today’s hyper-connected digital world where everything conceivable counts as content, what’s left for the artist to paint? For Berlin-based artist Janes Haid-Schmallenberg, all subject matter is equal. His paintings, watercolours and etchings are carried out in sketchy and wilfully incomplete, attention-deficit visual language, where motifs are begun but fizzle out before completion. His compositions reflect the jumble and free-flow of unmediated thoughts, where a set of truncated legs, two cats and a dismembered head make sense together for an instant.

Janes’ irreverent visual style is a reaction to the over saturation of content and the amalgamation of high and low culture, but also his own earlier work – first abstract and then metaphorical figurative compositions. Janes’ technique prioritises immediacy and an unfiltered line between thoughts and images. We caught up with Janes to find out more about his fragmented compositions, his side projects, and what (doesn’t) keep him awake at night.

Original: LINK

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