about

about
"In contrast to digital art analogue works of art have the privilege of being made of similar 'stuff' as humans. Its material surface breathes the same air, is just as vulnerable to physical or chemical influences, its appearance transforming with the changing light and the movement of its viewer." (Cora Waschke 2022)

"In contrast to digital art analogue works of art have the privilege of being made of similar 'stuff' as
humans. Its material surface breathes the same air, is just as vulnerable to physical or chemical
influences, its appearance transforming with the changing light and the movement of its viewer." (Cora Waschke 2022)

"When there is a sudden change in light or illumination, such as when stepping outside into sunlight from a darker room, our eyes have to adjust. The dilation or narrowing of our pupil is almost palpably slow and colours develop slowly in our field of vision. Our perception takes a while to adjust to the light situation. There is a similar contrast between our habituation to screens on the one hand and looking at paintings like Brörmann's on the other. Her colours have much more volume, stored a different light, than that cold, blue light we have become accustomed to." (Tamara Beheydt, presstext, Anatomy of Colour, whitehouse Gallery, Loevenjoel, 2023)

"When there is a sudden change in light or illumination, such as when stepping outside into sunlight from a darker room, our eyes have to adjust. The dilation or narrowing of our pupil is almost palpably slow and colours develop slowly in our field of vision. Our perception takes a while to adjust to the light situation. There is a similar contrast between our habituation to screens on the one hand and looking at paintings like Brörmann's on the other. Her colours have much more volume, stored a different light, than that cold, blue light we have become accustomed to." (Tamara Beheydt, presstext, Anatomy of Colour, whitehouse Gallery, Loevenjoel, 2023)

"Colours can be an autonomous body, but also have a certain transcendence that can perhaps only be conveyed in painting. Indeed, in their mutual relationships - in their negative and positive space, in their mass and matter - they also transmit an energy from the artist to the viewer; a silent but present communication. What grabs our attention is an absorbing and layered relationship of colours, but what holds our gaze is the energy with which the work is charged.“ (Tamara Beheydt, presstext Anatomy of Colour, Whitehouse Gallery, Loevenjoel, 2023)

"Colours can be an autonomous body, but also have a certain transcendence that can perhaps only be conveyed in painting. Indeed, in their mutual relationships - in their negative and positive space, in their mass and matter - they also transmit an energy from the artist to the viewer; a silent but present communication. What grabs our attention is an absorbing and layered relationship of colours, but what holds our gaze is the energy with which the work is charged.“ (Tamara Beheydt, presstext Anatomy of Colour, Whitehouse Gallery, Loevenjoel, 2023)

"Brörmann’s paintings work like playful machines for sharing the artist’s knowledge about material, light, and colour with her public. The raised surfaces seem like a subtle invitation to the beholders to move in the space and to discover numerous new nuances due to the changing perspectives and light conditions. This, too, leads to friction that causes the different actors in the exhibition space to interact." (Kito Nedo 2022)

"Brörmann’s paintings work like playful machines for sharing the artist’s knowledge about material, light, and colour with her public. The raised surfaces seem like a subtle invitation to the beholders to move in the space and to discover numerous new nuances due to the changing perspectives and light conditions. This, too, leads to friction that causes the different actors in the exhibition space to interact." (Kito Nedo 2022)

"Given this wider cultural frame, on a quite fundamental level Clara Brörmann’s paintings appear as aesthetic objects that resist the digital status quo of fleeting consumption. This resistant element originates, among other things, from their objecthood that is based on a 'longer, complex process’ of production in her studio. In this sense, they are very concrete because they make the painter’s work visible and at least partially traceable for the beholder." (Kito Nedo, 2021)

"Given this wider cultural frame, on a quite fundamental level Clara Brörmann’s paintings appear as aesthetic objects that resist the digital status quo of fleeting consumption.
This resistant element originates, among other things, from their objecthood that is based on a 'longer, complex process’ of production in her studio. In this sense, they are very concrete because they make the painter’s work visible and at least partially traceable for the beholder."
(Kito Nedo, 2021)