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Spheres between Heaven and Apokalypse

Digitalart and Mixed Media by Jaya Suberg

JAYA SUBERG’S POETIC MONTAGES UNITE ORNAMENTS FROM DIFFERENT WORLDS, TIMES, AND SPACES WITH OURS. THE PICTURE, THE COLOURS, EVERYTHING IS LIVELY, QUESTIONING, AND REELS THE VIEWERS IN. THE CUTS IN THE DIGITAL COLLAGE ARE INVISIBLE. THE NARRATIVE BRIDGE OBSESSIVELY LEADS US FROM AN EVENT IN THE OUTSIDE WORLD INTO THE INNER WORLD: INFLUENCES OF NATURE AND THE CHANGE IN URBAN LANDSCAPES. CHANGES IN THE HUMAN BODY [‘WHERE IS MY STROPHANTHIN?’], ANIMALS [‘MERCURY’], OCEANS [‘ONCE UPON A TIME THERE WAS A BEAUTIFUL OCEAN’] OR SOCIETY [‘DON’T MONSANTO ME’ + ‘I ONLY SEE CHEMTRAILS’] MOSTLY MAKE USE OF FEMALE SUBJECTS IN JAYA SUBERG’S WORKS. AND THIS IS WHERE THE MAGIC HAPPENS.

Ten­si­on and ten­der­ness cha­rac­te­ri­se the sen­su­al aes­the­tic of the artist. Dance and adven­ture [‘Coli­bris around me’ + ‘road­mo­vie’] and loss of con­trol [‘it’s not tan­go’] mould the shape of the world; while other times the sur­face of the image is dis­tor­ted, even dis­har­mo­nis­ed. Not only is beau­ty tem­pora­ry, but our life is also in dan­ger. And yet every time we see how hope, retur­ning home, arri­ving some­whe­re, exci­te­ment, let­ting go, and far-sigh­ted­ness come to light. The­re is a sur­fa­cing from a spa­ti­al pic­to­ri­al depth, but more often than not view­ers expe­ri­ence a libe­ra­ting drop to the bot­tom. Sim­ply put, they sink.

Jaya Sub­erg por­trait 2016
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What is fasci­na­ting is the infi­ni­te crea­ti­vi­ty, the never wea­ke­n­ing power of mys­ti­cism and poe­try which the artist uses in her work as a col­la­ge. We seem to have infi­ni­te oppor­tu­nities of inter­pre­ta­ti­on and per­cep­ti­on upon see­ing Jaya’s sen­si­ti­ve and at the same time power­ful seri­es of images. 

The source for her unmista­ken pic­to­ri­al lan­guage and dri­ve is to be found in the sub­t­le­ties of the mythi­cal moment, a cer­tain joie de viv­re, and ever­ything human, beau­ty in its diver­si­ty: and even the attrac­tion of a spe­ci­fic weight, gra­vi­tas, and fear. This is visi­ble in the leaps through time she hands out like pie­ces of a puz­zle, scat­te­red on the path befo­re us: parts from old prin­ted docu­ments or hand­writ­ten antique sket­ches by Ger­man doc­tors or a Chi­ne­se book of love gui­de us through one of the many pos­si­ble pasts.

If you were to per­so­nal­ly meet Jaya Sub­erg, it quick­ly beco­mes clear that her dri­ve is not nost­al­gia, but a dream for the ear­lier nai­ve­ty in rela­ti­on to the important events around the world. She’s a child of the 70s and 80s, shaped by tra­vel­ling and the most diver­se gui­des, peace move­ments and the spi­rit of the divi­ded city Ber­lin. She moved here in 1980 and shot exci­ting pla­ces with her came­ra every day. The same holds true to this very day, and whenever she finds an exci­ting set, she’ll book a model or speak spon­ta­ne­ous­ly to a poten­ti­al prot­ago­nist. Jaya never takes a pic­tu­re of a per­son without fee­ling some empa­thy and mutu­al sym­pa­thy. The naked­ness of the beau­ty she com­po­ses in her digi­tal­art is a mix­tu­re which remo­ves distan­ces, bols­te­red when she pro­ces­ses her pic­tures after digi­tal com­po­si­ti­on with Mixed Media – acry­lic, dif­fe­rent pens and col­la­ge mate­ri­al. Jaya Sub­erg was one of the first digi­tal­Art artists and her signa­tu­re is still unmistaka­ble. Every paper is a uni­que work of art, an aes­the­ti­cal syn­op­sis of dif­fe­rent cul­tures, her per­so­nal mark in the world.

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lebt in Berlin und ist als Sammlungsexpertin, Kritikerin, Autorin und Moderatorin tätig. Ihr Fokus liegt auf dem von ihr gegründeten Collectors Club Berlin – und damit der Pflege von Sammlungen und deren Sichtbarwerdung. In den Ausstellungen der Kunstgesellschaft und den kreativen Projekten des Netzwerks soll Kunst unabhängig vom ‚Kapitalmarkt‘ gezeigt werden. Junge Kunstströmungen verbinden sich hier mit Positionen aus künstlerischen Nachlässen und – unveräußerbaren – Werken in Sammlungen.

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