"Spontacts Fx "JANA SCHRÖDER
T293Via Ripense 6, Roma, Italy
Tel.+39 06 88980475 e-mail: 14 September > 14 October 2016 |  |
 Spontacts R2, 2016 copying pencil and oil on canvas / matita copiativa e olio su tela 240 x 200 cm @Courtesy of the Artist and T293 |
 Spontacts R1, 2016 copying pencil and oil on canvas / matita copiativa e olio su tela 240 x 200 cm @Courtesy of the Artist and T293 |
 Spontacts R1, 2016 copying pencil and oil on canvas / matita copiativa e olio su tela 200 x 240 cm @Courtesy of the Artist and T293 |
 Spontacts R0 links and rechts, 2016 copying pencil and oil on canvas / matita copiativa e olio su tela each: 240 x 200 cm @Courtesy of the Artist and T293 |
T293 is p
l
eased to present
Spontacts FX
, the first exhibition at the gallery of
German artist Jana
Schr
ö
der. The exhibition brings together a selection of new works by Schroeder that further
develop the artist’ aesthetic research upon painting as performative practice, as well as upon the
interaction between colours and light.
All belo n ging to the series of paintings known as Spontacts , the new works by Schroeder look like the visual records of spon taneous and liberatory gestures. Such gestures take the form of irregular lines and curls weaving slo venly on large format canvases, and undeniably put forth the idea of a n unconventional and even rebellious approach to painterly practice. Looking like doodles or hast il y handwritten notes, these works are all realised with oil paint and copying pencil constantly overlapping and each influe ncing the chromatic perception of the other.
The spontaneous and impulsive content of these works betrays the painstakingly processual aspect that characterises Schr ö der’s practice. Indeed, all these confused forms are the result of different layers of copying pencil, whose finer lines are then re - worked, implemented or even revoked by the more concrete and slow - moving painted marks. This way, different temporalities are engraved onto the canvas’ surface. Yet, such tempor alities are not exhausted by thos e marks , as the chemical properties of the copying pencil allow these signs to slowly fade away when they come into contact with UV - rays. Applying oil paint as ‘last layer’ , the copy then becomes the original, although in an almost monochromatic version.
Addressing the legitimation of contemporary painting, these oeuvres do not only produce new meaning s through the gestural abstraction processes that are behind them, but also by the means of their reference to everyday humble acts such as handwriting and s cribbling. The purity of forms like lines and curls help Schr ö der to further investigate the materiality of such gestures, and to focus on what happens to tho se marks when they become unreadable. With Spontacts FX , Jana Schr ö der moves a step further in her quest to develop a new aesthetic language that is based both on the energetic overlapping of layered marks and on the capacity of the artist to play with that which is out of control: like the chromatic metamorphosis each painti ng goes through from the moment of being exposed.
All belo n ging to the series of paintings known as Spontacts , the new works by Schroeder look like the visual records of spon taneous and liberatory gestures. Such gestures take the form of irregular lines and curls weaving slo venly on large format canvases, and undeniably put forth the idea of a n unconventional and even rebellious approach to painterly practice. Looking like doodles or hast il y handwritten notes, these works are all realised with oil paint and copying pencil constantly overlapping and each influe ncing the chromatic perception of the other.
The spontaneous and impulsive content of these works betrays the painstakingly processual aspect that characterises Schr ö der’s practice. Indeed, all these confused forms are the result of different layers of copying pencil, whose finer lines are then re - worked, implemented or even revoked by the more concrete and slow - moving painted marks. This way, different temporalities are engraved onto the canvas’ surface. Yet, such tempor alities are not exhausted by thos e marks , as the chemical properties of the copying pencil allow these signs to slowly fade away when they come into contact with UV - rays. Applying oil paint as ‘last layer’ , the copy then becomes the original, although in an almost monochromatic version.
Addressing the legitimation of contemporary painting, these oeuvres do not only produce new meaning s through the gestural abstraction processes that are behind them, but also by the means of their reference to everyday humble acts such as handwriting and s cribbling. The purity of forms like lines and curls help Schr ö der to further investigate the materiality of such gestures, and to focus on what happens to tho se marks when they become unreadable. With Spontacts FX , Jana Schr ö der moves a step further in her quest to develop a new aesthetic language that is based both on the energetic overlapping of layered marks and on the capacity of the artist to play with that which is out of control: like the chromatic metamorphosis each painti ng goes through from the moment of being exposed.
 Installation view @Courtesy of the Artist and T293 |
 Installation view @Courtesy of the Artist and T293 |
