Greenberg with us all the time. He tried to convince us, that only abstract painting would be accepable, contemporary art. Most of my fellows continued to paint abstract and started to quote our Professor or Greenberg without any reflection or to try to find out their own point or position about their art or the art in general. No one ever scruntinized his opinion. And what was worse: no one concerned about the person Greenberg and his role in culture-politics of the USA while the cold war. I really suffered under the preassure of this Professor. At that time, I ritired from my art class. I was relly depressed and was thinking about to give up my studies. Finally,I decided to make my degree and to move away. To me it was a kind of rescue to go to Berlin and start from the beginning. In Berlin, I started from sctatch. And I have to say that it was the best choice I've done. Two weeks ago, it happend to me that I read an Artcritic from one of my exfellows at Kiel. The text was a speech about the works of an other colleague of us. And still- she was talking about Greenberg. I was really amused. Before starting to elaborate about your production, would you like to tell to our readers something about your process and set up for making your works? In particular, what technical aspects do you mainly focus on your work? And how much preparation and time do you put in before and during the process of creating a piece?
Usually, it starts with a abstract idea of a picture, an action. Than can be something that happened to me in reality, it can be also a motiv or a picture wich I find on my everyday ways, or in magazines. But I also like to tell stories. And I like to show pictures that teling stories. In chase of my painings, there can be an idea of an experiment at the first moment. At the picture â€žVoodouâ€œ for exampIe,I wanted to try to make a picture whose structure basically consitsts of lines. But I also had a diffuse image of a landscape and a house in my head as well. I can not say, that there would be a special way or a usual tecnique when I start to paint.
Dorothee Zombronner (Photo by Kathrin Heidenreich)
On the background: Pippletips 23
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