These are our Top 100 submissions of artists for the Universal Sea – pure or plastic?!
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Franziska Rutishauser, Aggregation I-Dark light...
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Title:
Franziska Rutishauser, Aggregation I-Dark light...
Franziska Rutishauser, Aggregation I-Dark light...
Author:
Franziska Rutishauser
Franziska Rutishauser
Description:
Franziska Rutishauser uses her artistic method of examination to ask what reality actually is and gives us her individual answers placing it in relation to her cultural background. Her focus on the range of motifs has been dominated since her childhood by immediate, sensory-intuitive experiences of nature as a complex and mysterious source of images. Her works reference the indissoluble links between people and nature and address the viewers‘ self-concern as the beginning of a process to expand the mind. Science was a major factor in driving a wedge between humankind and nature and causing humankind to regard nature as a thing, as a resource to be exploited instead of a relative who deserves respect. In her most recent paintings in the series entitled Aggregation-Dark light matter, red combines with structures drawn from snapshots of flowing water to create ambiguities that cause irritation as the viewer attempts to reconcile the images with reality. The red appears with emotional significance that replaces the perceived synaesthetic association of the colour blue with cold.This red piles the aforementioned diversity of meanings onto the water from which then, at least in one possible interpretation, one compassionate intimation stands out: the understanding of the seen environment as flesh and blood, as ‘if it were a part of me ...‘ (Rutishauser). The artist‘s attitude is based on the fact that the term Anthropocene, since it was coined by Paul J. Crutzen in 2002, has become an expression of a newly developing worldview of and about homo sapiens. Empathic identification instead of increasing alienation has here become the focus of artistic activity. Information: www.franziska-r.ch
Franziska Rutishauser uses her artistic method of examination to ask what reality actually is and gives us her individual answers placing it in relation to her cultural background. Her focus on the range of motifs has been dominated since her childhood by immediate, sensory-intuitive experiences of nature as a complex and mysterious source of images. Her works reference the indissoluble links between people and nature and address the viewers‘ self-concern as the beginning of a process to expand the mind. Science was a major factor in driving a wedge between humankind and nature and causing humankind to regard nature as a thing, as a resource to be exploited instead of a relative who deserves respect. In her most recent paintings in the series entitled Aggregation-Dark light matter, red combines with structures drawn from snapshots of flowing water to create ambiguities that cause irritation as the viewer attempts to reconcile the images with reality. The red appears with emotional significance that replaces the perceived synaesthetic association of the colour blue with cold.This red piles the aforementioned diversity of meanings onto the water from which then, at least in one possible interpretation, one compassionate intimation stands out: the understanding of the seen environment as flesh and blood, as ‘if it were a part of me ...‘ (Rutishauser). The artist‘s attitude is based on the fact that the term Anthropocene, since it was coined by Paul J. Crutzen in 2002, has become an expression of a newly developing worldview of and about homo sapiens. Empathic identification instead of increasing alienation has here become the focus of artistic activity. Information: www.franziska-r.ch
Description:
Franziska Rutishauser uses her artistic method of examination to ask what reality actually is and gives us her individual answers placing it in relation to her cultural background. Her focus on the range of motifs has been dominated since her childhood by immediate, sensory-intuitive experiences of nature as a complex and mysterious source of images. Her works reference the indissoluble links between people and nature and address the viewers‘ self-concern as the beginning of a process to expand the mind. Science was a major factor in driving a wedge between humankind and nature and causing humankind to regard nature as a thing, as a resource to be exploited instead of a relative who deserves respect. In her most recent paintings in the series entitled Aggregation-Dark light matter, red combines with structures drawn from snapshots of flowing water to create ambiguities that cause irritation as the viewer attempts to reconcile the images with reality. The red appears with emotional significance that replaces the perceived synaesthetic association of the colour blue with cold.This red piles the aforementioned diversity of meanings onto the water from which then, at least in one possible interpretation, one compassionate intimation stands out: the understanding of the seen environment as flesh and blood, as ‘if it were a part of me ...‘ (Rutishauser). The artist‘s attitude is based on the fact that the term Anthropocene, since it was coined by Paul J. Crutzen in 2002, has become an expression of a newly developing worldview of and about homo sapiens. Empathic identification instead of increasing alienation has here become the focus of artistic activity. Information: www.franziska-r.ch
Franziska Rutishauser uses her artistic method of examination to ask what reality actually is and gives us her individual answers placing it in relation to her cultural background. Her focus on the range of motifs has been dominated since her childhood by immediate, sensory-intuitive experiences of nature as a complex and mysterious source of images. Her works reference the indissoluble links between people and nature and address the viewers‘ self-concern as the beginning of a process to expand the mind. Science was a major factor in driving a wedge between humankind and nature and causing humankind to regard nature as a thing, as a resource to be exploited instead of a relative who deserves respect. In her most recent paintings in the series entitled Aggregation-Dark light matter, red combines with structures drawn from snapshots of flowing water to create ambiguities that cause irritation as the viewer attempts to reconcile the images with reality. The red appears with emotional significance that replaces the perceived synaesthetic association of the colour blue with cold.This red piles the aforementioned diversity of meanings onto the water from which then, at least in one possible interpretation, one compassionate intimation stands out: the understanding of the seen environment as flesh and blood, as ‘if it were a part of me ...‘ (Rutishauser). The artist‘s attitude is based on the fact that the term Anthropocene, since it was coined by Paul J. Crutzen in 2002, has become an expression of a newly developing worldview of and about homo sapiens. Empathic identification instead of increasing alienation has here become the focus of artistic activity. Information: www.franziska-r.ch
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