Christiane Zschommler

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from the series Project Fear ( 2019); image size 1.20m X 1.20m

from the series Project Fear ( 2019); image size 1.20m X 1.20m

from the series Project Fear ( 2019); image size 1.20m X 1.20m

from the series Taking Back Control ( 2020); image size 1.20m X 1.20m

from the series Taking Back Control ( 2020); detail;

from the series Taking Back Control ( 2020); image size 1.20m X1.20m

from the series Taking Back Control ( 2020); detail

from the series Foreign Means Foreign ( 2020); image size 1.20m X 1.20m

from the series Foreign Means Foreign ( 2020); detail

from the series The Way It Is (2020), 1.40m X1.40m

from the series The Way It Is (2020),1.40m X1.40m

from the series The Way It Is (2020),1.40m X1.40m

from the series The Way It Is (2020),1.40m X1.40m

from the series The Way It Is (2020),1.40m X1.40m

from the series The Way It Is (2020),1.40m X1.40m

from the series The Way It Is (2020),1.40m X1.40m

c -prints (50cmX50cm) and vinyl records floating in black box frames. Record sleeves attached to back of frame

c -prints (50cmX50cm) and vinyl records floating in black box frames. Record sleeves attached to back of frame

c -prints (50cmX50cm) and vinyl records floating in black box frames. Record sleeves attached to back of frame

c -prints (50cmX50cm) and vinyl records floating in black box frames. Record sleeves attached to back of frame

Christiane Zschommler

On becoming an immigrant ( 2016-2020)

Since the referendum on Europe on the 23rd June 2016 the questions of identity and belonging have become significant. I did not have a vote although I belong to the group most affected by the outcome. I feel my sense of security has been undermined. Suddenly after 24 years of living in England, I have become an immigrant in the country I have chosen to live in since 1992.

The evidence and Academic Research about the impact of Brexit written as early as 2015 has meant nothing. In  Project Fear (2019) I explore the communicative function of knowledge. I use academic studies about the impact of Brexit and block out text reducing the forms to geometric coloured shapes.

The images from Taking Back Control ( 2020) and Foreign Means Foreign ( 2020) are based on spectrograms of political speeches, headlines in the media and on my writing from notebooks. Meaningless slogans seem to offer comfortable easy fixes repeated as mantras and worshiped like immovable sacred texts.

In The Way It Is ( 2016-2020) I focus on understanding the changes in perception of my own place in British society forced upon me. In an effort to regain my illusion of control I am redacting the images of trees in my garden I have taken since June 2016 and organise them into grids. Through obscuring the visual information the images have developed an uncertainty, the pixelated coloured shapes revealing an disorganised pattern that informs my understanding of the society I now live in.

Looking at the colours of the canal in December 2017 in The Isle Is Full Of Noise ( 2017/2020) feels more like the destruction of an illusion. The canal seems to represent layers of colourful nostalgia, with an references to the the past. For these pieces I used old vinyl records to cover up the images of frozen water,

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