Eva Grün
Eva Grün
Eva Grün shot to fame in a very short time through numerous displays at various exhibitions. Her works are also represented in large international collections. Eva Grün's (*1975, lives and works in Vienna) pictures are distinguished by sketch-like, figurative and painted elements. The artist renders the world of images and commodities by the fleeting gesture of the collage. For her tusche drawings she uses materials such as plain tickets, construction plans and newspapers - things that already carry a story with them. Her mode of painting, including experimentation with various techniques, deliberately invites randomness. This composition of banal objects is both an artistic playground and a program: the juxtaposition of representational tusche drawings with cut-outs from newspaper headlines suddenly produces something like immanent meaning. And yet the point is not to invent something anew but to outline a new story from the juxtaposed fragments, a story determined individually by each observer. Unnoticed everydayness, as in a frozen image, stopped in motion, lets the observer recognize details and look for them more intently. Unremarkable things are highlighted, torn from their context and made into something special by the power of a snapshot composition.
Eva Grün shot to fame in a very short time through numerous displays at various exhibitions. Her works are also represented in large international collections. Eva Grün's (*1975, lives and works in Vienna) pictures are distinguished by sketch-like, figurative and painted elements. The artist renders the world of images and commodities by the fleeting gesture of the collage. For her tusche drawings she uses materials such as plain tickets, construction plans and newspapers - things that already carry a story with them. Her mode of painting, including experimentation with various techniques, deliberately invites randomness. This composition of banal objects is both an artistic playground and a program: the juxtaposition of representational tusche drawings with cut-outs from newspaper headlines suddenly produces something like immanent meaning. And yet the point is not to invent something anew but to outline a new story from the juxtaposed fragments, a story determined individually by each observer. Unnoticed everydayness, as in a frozen image, stopped in motion, lets the observer recognize details and look for them more intently. Unremarkable things are highlighted, torn from their context and made into something special by the power of a snapshot composition.