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 Pamela Rosenkranz for Ricola [...] the human identity and its place in natural history, but also in aesthetics. The artist consults specialists from research and industry and takes account of the findings of recent scientific inquiry into evolutionary processes. Meanwhile, she experiments with a wide range of substances and materials, many of which seldom find their way into art. Rosenkranz believes art to be a “viral system” and as an artist works on the “immune system” of visual discourse. Among the core components of her art are those synthetic materials, especially pharmaceutical substances, that have no influence on the visual appearance of her works, but all the more so on how they are apprehended. “Her visual template is the laboratory, not the museum” writes the French curator and art critic Nicolas Bourriaud. “Her works seem to be composed of the residues of experiments, the precipitate left by actions or research.” Rosenkranz works with traditional support media such as panel paintings, sculptures and installations; but as Bourriaud remarks, “their content goes beyond those formats insofar as it is organized solely around physiology. Here the surfaces are envelopes or skin, and the volumes are recipients or organs.” One subject of interest to Rosenkranz is the body: both the biological human body and the mediated body of the work of art. In her younger years, she folded paper – sheets of black paper or posters of sunsets – and then trickled black India ink into the creases. Thus a surface became a medium, a support for a second surface. Human skin is a subject and theme of her work in both the literal and the metaphorical sense. She does not paint with oil, dispersion paint or acrylic, but rather [...]  continue... download photograph (PDF: 1.5 MB)
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