ARTISTS / Contemporary art
Luzia Simons

Stockage 79
© Luzia Simons / VG Bild-Kunst, Bonn

Luzia Simons

Stockage 79, 2009

Light Jet Print Diasec
250 × 360 cm

signed and dated on the reverse
(SIMONL/W 22)

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Literature: Matthias Harder (ed.), Luzia Simons, Berlin 2012, pp. 94 f., 157

Luzia Simons' works are irritatingly beautiful, not only because of the floral motifs, but essentially because of the compositional perfection and the technique behind it, which has earned the singular style the designation "Digital Baroque." In fact, some viewers want to recognize paintings from the Dutch Baroque period in the works, while others want to see photographs of opulent
of opulently staged floral decorations. Both are mistaken. The result of the elaborate and lengthy "recording" by the scanner is conveyed in close proximity to the object - through line-by-line optical scanning. Luzia Simons' scans surpass both painting and photography in depth and brilliance, and because she drapes the plants on the scanner - that is, works from the bottom up in preparing the scene - the composition appears sensationally different without being immediately noticeable - in terms of perception, the sequence of foreground, middle ground, and background is comparable to reverse glass painting. The fact that the exuberant blossom is juxtaposed with the morbid side of transience is a tribute to reality and life - and at the same time a reflection of the cultural-historical notion of vanitas, which shaped thinking in the 17th century in particular. This diptych, although it plays through the theme twice, is here - unlike many of Simon's other multi-part motifs - deliberately constructed as a double image in order to thwart the illusion of beautiful appearances.
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