What intrigues us when we are confronted with abstract art? Is it the visual stimulation that inspires us to perceive beauty beyond the defined physical forms that surround us and we are familiar with? Is it the mood it sets us in by conveying invisible emotions into an aesthetic expression? Both approaches apply when confronted with Violetta Ehnspergs art. Drawn in by her characteristic use of colors, the expressive compositions, always meandering between dynamics and tranquility, the audience is invited to step into Ehnspergs aesthetic universe.

In this creative cosmos countless things are happening simultaneously, never random but seemingly connected and thriving towards the specific aim of coming together and encapsulating the spirit of its creator. Whilst Ehnspergs paintings are emotions assuming physical form, often enhanced by hopeful titles, her textile installations have the appearance of a collective memory.

The foundation of these textile works are painted pieces of canvas and other textiles sawn together. Fashion and costume design have always been a source of inspiration and are also part of Ehnspergs creative process. Then she adds items from her own past, charged with both positive and negative memories, or objet trouvés of particular interest to the piece. This process accumulates into an installation with a sculptural presence. When presented free-floating in a space, these assemblages reveal numerous aesthetical perspectives and intellectual layers. Referencing the Paragone, an art historic discourse which is the higher form of art, sculpture or painting? Arguments have been made for both sides, and also Ehnspergs installations are not leaning towards one specific side but merging aspects of both painting and sculpture. The backside of the installation is transformed from a classical two dimensional painting into a three dimensional sculpture as soon as the spectator begins to move around the installation.

Looking past all the details and items added, the textile resembles a rug, which has been a symbol for home and belonging somewhere for centuries. Living between Vienna and Berlin, this particular question is a frequent topic for the artist.

Exemplary for this practice is Ehnspergs installation “Cheb Dargeob”, which was created in situ for her solo exhibition in Belgrade and where she searched the city for distinctive ready-mades but also invited people to share their own items of emotional significance to become part of the installation. This transformation of personal belongings into a work of art for everyone to experience is a significant part of Ehnspergs creative process. Emotions should not be suppressed but let go and resonate with the world.

This approach applies to every piece Ehnspergs produces. Although the creation might be a very personal issue, as soon as the creative process is concluded, the personal aspect fades away. Now the artworks are presented to the audience for everyone else to find or lose themselves in Ehnspergs art and to generate personal connection of their own.

Jan Gustav Fiedler (Curator)