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Jasmin Genzel

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Jamin Genzel, silently searching for a new truth. 
Jasmin Genzel is not a member of a specific movement in art. She goes her own way. Of course we can find some artistic developments having influence or being a source for inspiration. Her works show the approach of the Arte Povera, Conceptual Art and maybe some ideas of Joseph Beuys. Jasmin Genzel is typically an artist with her roots in the late twentieth century.
There are some interesting contradictions in her work. Looking at her work the viewer will always be very conscious about the materials. As a printmaker she uses paper and textile. In her woodcuts she uses rough pieces of wood making stamps with it. At the same time her work is very conceptual. The viewer will have the feeling there is a philosophic way of thinking inspiring the artist as a craftsman. It makes her works both poetical and philosophical.
There is a special fascination for things used as a humble container, vessels and 'Bandana's'. For years the theme of the vessel came back, inspired by antique vases of the Etruscan or the Greek ceramists. People could use it for everything, from perfumes to wheat of olive oil. It is the same with the 'bandana', a piece of cloth, square or triangular, used as a shawl, as a bag for simple essential things, as a flag etc. She saw these bandanas as bags for small things in book illustrations from Mexico in the 16th century.
Going back to basic things is important for Jasmin Genzel. Things are shown in such a way that it is clear and at the same time a mystery. But shown in an exhibition installation or in a series on a wall it has some poetical power, the power of a whispering artist. Not an aggressive and loud expression but a humble question to look carefully at paper, fabric and wood. On this level there can be seen a connection with the many cultures she studied of she had lived in: Italian and Etruscan Art, Asiatic craftsmanship, things from Meso-America, the dreams of Joseph Beuys from Germany.
Many works of Jasmin Genzel give the impression as if they are the result of a chaotic process by chance giving this result. But during the 25 years I know her work it has always been the result of thinking, doubt, remaking looking for the right ideas and a corresponding result. It is important to take time to look at these works, not only for the appearance, but also for the intention and the atmosphere. Considering her works that way can be very rewarding. You can find new meanings and ideas as a source for new poetry.
Michael van Hoogenhuyze, Leiden, October 2015



Jasmin Genzel
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