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Corinne Goetz
The Dark Side of the Gloom
The very moment an artist puts a work of art on display he renounces his power over it, leaving any authorial intentions entirely open to the interpretation of the observers. This action, which one could compare to cutting off the umbilical cord, may not always be easy for an artist. Sometimes leaving something open to interpretation could also mean leaving it “vulnerable” to interpretation, if the desired effect or reaction is completely ignored or unnoticed. However, the artist can never tell his observers what to feel or what to think.
With her new series of paintings, Corinne Goetz does not tell us what to feel or what to think, but, stronger than ever before, she triggers a strong impulse in her observers to feel something and with it, she implies the absolute necessity to think about what it is that we are feeling. She has mastered a method to forbid every observer to glimpse at her paintings like a flâneur, or an innocent, detached observer using the weapon of the first impression. One look at her figures, their bodies, their postures and their surroundings is an intense confrontation with something that is a part of each and every one of us: something dark, something oppressed within us. Unlike with her cocoons, Corinne Goetz seems to have reversed her strategy. She does not attempt to unveil our dark side through concealment, but through revelation and exposure. Similar to her paintings, where the inside of the cocoon seems to have hatched out, the artist herself appears to have gone through a metamorphosis.
Jeff Seyler
2006
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