In her works Christiane Spatt addresses her cultural identity, tracing subtly defining factors and making these very personal motives visible in the form of paintings, photographs or installations. The familiar patterns and items she often makes use of carry memories, refer to certain periods of her life and are charged with emotions, recollections and associations. “By representing herself in practically every ‘collector’s item’ she does not only express her own authorship and her desire for playing with both roles and time, but she also points to the individual subject’s share in the perception, representation and communication of ‘realities’.” (Lucas Gehrmann, The Story of… Oder: Christiane Spatt, Eine Lebenszeilenfinderin in den Sprachen der Bilder).
Among other things she displays at the Artdepot, the artist shows her works titled “Nei Fiori”, which relate to the Italian proverb “nei fiori cova la serpe” (i.e. “the serpent is lurking in the flowers”). The motives play with classic postures in photography and their alienation.
The series “nothing to lose” shows playful acts romanticized by memory. Implementing these memories years later yielded ambivalent experiences, causing scratches, bruises and nausea.
Artificial flowers, a plastic bug and a doll’s eye are integrated into the Italian fauna in “non e tutto oro” and are presented as quasi-takeaways in the shape of photographs in suitcases.
One underlying topic of Christiane Spatt’s works, which she created as artist in residence in Paliano, Italy, in 2015 for the most part, is the conflict between nature and artificiality, the relationship of man and nature in general and her personal connection in particular.
Collages are composed of different parts of images. The compiled collage is preceded by a process of resection, appropriation and deconstruction. Collages free something from preexisting contexts, destroy something for the sake of creating something new. Scissors and glue have long been replaced by electronic tools of cutting and pasting. The works of Maria Meusburger-Schäfer are collages in the shape of drawings, photographs, painted images and sculptures. She cheekily and playfully appropriates what others have painted, constructed or taken a picture of before her and adds her own interpretation. She thus creates a patchwork of new contexts of meaning. In her latest works “Form, Kopf, Schwannkopf” the artist attempts to connect bodily posture with the experience of growing, blooming and expanding. Everything static and familiar undergoes a reinterpretation, an expansion, maybe a funny suggestion to see things in a new way and in motion. (Maria Meusburger-Schäfer)