susanne kircher-liner shows paintings and drawings which correspond both in terms of content and technique, addressing the individuality and duality of different forms of intelligence - crystalline and fluid. the large-format 'portrait of aggregates' represent a continuation of the thematic 'perception' cluster. incomplete portraits intertwine with mineralogical structures through a collection of layers of color. they address the individual crystalline structure of intelligence, the very thought processes that comprise our learning, our experiences and memories.
kircher-liner does not only play with the visualization of intracorporeal processes in terms of content, but also in terms of her technique. what lies beyond is kept open to connect the previously accomplished painterly steps with the superimposed layers. thus, visible surfaces come into existence, which allow previous painterly results to remain as they were while attaching them to the present moment. opaque areas block out the viewer's gaze, while varnished or recessed areas invite it. in addition, these portraits of aggregates employ various reflections to shed new light on the works from different perspectives. in this way shiny surfaces reflect and interference colors gleam differently according to the viewer's position and thus enforce the concept of visualization.
physically opaque layers reveal a fluid base in deliberate recesses. these liquid areas, where corporeal shapes are formed, metaphorically represent a kind of fluid intelligence, the sort of intelligence that embodies our flexibility, creativity, our problem-solving-skills and our logical thinking.
the painted aggregates are accompanied by psychodynamic depictions which try to trace the effect of intrapsychological powers as 'fluid' possibilities that may vary at all times. the representations of processes of perception and psychodynamic bodies in acryl/oil on canvas are aggregates of thinking about thinking itself, each of which descripes unique personality structures despite fundamental similarities resulting from biological species affiliation and cultural as well as social developmental conditions. characteristic traits of an individual's biography and subjectivity are intuitively and painterly conceived of outside of the framework of conventional psychological terminology.
one could now speculate outside of this individuality if there exists a metaphysical principle, an impalpable inmost being and to what extent this could be made visible in psychodynamic painting, even if, allegedly, this question cannot be answered empirically.