As the first gaze gets disconnected from the corporal, the sensation of experiencing the painter’s work is enhancing.
Janes Haid-Schmallenberg (b. 1988) makes work that explores the intellectual contribution of a contemporary painting mostly using abstract shapes and forms through an allegoric, dynamic and expressive manner. “Processing means to be constantly aware of the decisions you make” states the emerging artist, while adding that “it’s very important not just to react to what the painting dictates. Instead you can find solutions for a painting that aren’t pre-given and yet come out very stable in the end. Painting for me has a lot to do with observing this process.”
His recent body of work seems to differentiate from previous creations that were less reductive and more laboured in rich coloured patterns. Haid-Schmallenberg’s late work emphasises on aesthetics with a clearer reduction of form, minimized figures and grotesque rigour. The Berlin-based artist now seems to concentrate on an alluring contrast between the glowing monochromatic canvas surface and manifold abstract and figurative set of visualizations.
He deals with a minimalistic iconography rendering a smarter interpretation regarding its spatial significance. Scrawled depictions define his new work executed in a bizarre and distorted way despite the painter’s various colourful tones. His latest art also evokes more provocative feelings due to the represented subjects, while conveying a flexible fluid into their final painting forms on canvas. In addition, the newer works seem to present more incongruent elements applied on canvas with a comfortable attitude towards the viewers’ eyes. Considering the genre of naïve art, Haid-Schmallenberg’s technique could be argued that incorporates a childlike simplicity of vision, but does not lack the painterly execution’s skillfulness.
Haid-Schmallenberg has created a series of freakish scenes, where the artist puts an emphasis on the idea of a visually unnatural synthesis through minimizing figures – possibly underlying the artist’s inner intention to project the grotesque. A series of asymmetrical compositions do not allow the viewer’s eyes to effortlessly follow and be in conformity with the image. Fluid and rushed, Haid-Schmallenberg’s recent depictions are seemingly provisional and reflect sheer enthusiasm that indicates the passion of art-making via combining ambiguous and discomfiting images. His late body of artwork can be seen both as expression of sarcastic representation as well as a paradigm of dark amusement.