Though applied with oil the colors in Tanja Selzers paintings appear translucent and bright as in a watercolour. This seeming lightness of paint is supported by deliberate meltings of colours and outlines. It appears the dilution of colors is partly maximized to a threshold of viscosity during the process of painting, thus causing running paint along gravity, i.e. vertically.
Dark, homogenous areas are being retained as high-contrast shadows in a dominating front-lighting. That same opposition is evoked reversely in other mainly dark paintings through their portions of over-illuminated sections.
As a consistent subject Selzer arranges steam or mist in the brighter parts of the images. The gaseous aggregation comes with the blurred outlines of the figures and objects, underlaying a material, i.e. molecular dynamic. The melting or dropping of paint consequently appears as a following conden-sation.
Liquid transfers of shapes put the figures and backgrounds quasi in a common solvent, in which only some foregrounded protagonist‘s contours are properly focused. Like looking through a rain-swept window, forms and surroundings fluently and coherently blend into each other, not just spatially, but due to their implicated motion also temporally. Fluid blurring and over-illumination guide the viewer from initially concrete sceneries and events in Selzer‘s images inductively to a common diaphanous matrix.
The artist‘s paintings shown in the exhibition „Subrosa“ feature as motifs snapshots of social-zeitgeisty or individual dimensions. But the viewer is always situated in front of thoroughly arranged momentary takes, making the association of a temporal before and after inevitable. This narrative tension in Tanja Selzer‘s paintings is ambigious but intense. As specific the individual image is expressed, it also poses a crossing of multiple possible events, like a fateful superposition of the past and the future.
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