Cornelia Renz | posters and prints
For a considerable time now I have been fascinated by the idea that art might, as Aby Warburg, a Jewish-German art historian and cultural theorist, suggested, be a sort of apotropaic magic formula, intended not only to turn away evil, but to reduce the gap between the dichotomy of frenetic emotional chaos and distanced, rational deliberations through the help of icons and artistic work.
I have fostered an interest in latency and dreams, these disturbing, but remote realms at the periphery of our lucid and radiant consciousness. I deal with our optimistic self-image that is so assured to stay on solid moral grounds, enlightened and beyond baser instincts, only to watch itself dash against the moral imperative it fabricated and shaped.
The Russian philosopher and literary critic Mikhail Bakthin locates the grotesque within the spirit of carnival, which distorts and defuses all that is terrible by the peoples’ triumphant laughter. He calls it a “game with the absurd”.
The grotesque realism, the artistic expression of the carnival spirit, wants to achieve new outlook on the world, to realize the relative nature of all that exists. The function of the grotesque realism is to transform our image of the world from the ‘ideal’ to the ‘ambiguity’ in order to distil a qualitative truth out of it. At the core of my work I deal with this relative nature of truth that is not clear-cut, radiant and heroic, but grotesque, ambiguous and down-to-earth.