Identity Forming Processes Overpainted (2012)
The German Brussels-based Jana Euler presents four new paintings developed over the last year in her eponymous, first American solo show at Real Fine Arts’ storefront. These new works strike a more personal, and immersive chord than her previous solo at Dependance, "Form Follows Information Exchange." The Dependance solo presented ecosystems of a common self caught in postmodern standards of emotion, figuring in as vignettes — press conferences, mating animals, sculpted bodies with screen posteriors, and office workers discussing themselves into bobble heads. While Euler's latest solo orients from this critical form, it coalesces as the maze that is female post-adolescence, paraphrased in space with sophisticated timing.
Incised onto the surface of a female figure, cramped into a question mark, nine eyes form a path across "The Body of the Exhibition." The stream of eyes rounding up the body are reminiscent of a jelly-bean path left to reflect on what was, amalgamated with the apparition of vinyl department store footprints directing us to a next weigh station. The body's primitivist-esque contorted limbs are apportioned by two lines standing in for the exhibition's two half-transparent screens, which bisect the space into four quadrants. Orienting the four paintings to be viewed in an individual progression, the two half-transparent walls manifest as a literal screen memory, bringing into physical fruition the kind of layers that conjoin between the liminal internal time zones etched into our psychic and corporeal selves. Wandering between the three paintings with the press release/facsimile of "The Body of the Exhibition" in hand is to be absorbed into a psychodrama, directed by the skeins of social and biological expectation.
Social Expectations Overpainted (2012)
The trio begins eyes closed with social expectations, winding into instincts, and ending on the open eyed identity forming ...