"Painters come from all walks of life, from all traditions, from East and West. Some paint from the position of realism, others from abstraction. Some go to the interior expression of the soul, while others deliver the most exterior manifestation of political signs. Painters paint formal compositions, surrealist apologies, expressionist diatribes, and postmodern narratives. But the question remains in this era after postmodernism as to what constitutes a painting. Is painting to be regarded only as a medium? A material effect? Is it merely a juxtaposition of forms and pigments? A matter of representation? The fact is that painting still remains a vital force, a constant in the world of transition? Painting offers us a tactile experience that goes far beyond the virtual world of the digital image. Painting is both personal and conceptual. It is a way of seeing through time, a fictive reality, that goes to the surface of things. Painting exists as a tactile phenomenon. It exists beyond the mere act of representation. The gestures and the shapes go beyond the limits of what is known as a mimetic portrait of the external visual world.

"Josiane Soder (born 1956) is a Swiss painter who has shown her paintings extensively over the past six years. She paints in a style that is loosely expressionist with a strong emphasis on the materiality of her medium. Her use of acrylic on canvas admits an openly divergent sensibility as expressed through her method of application and her incisive, fluid manner of handling the paint. In Art on Fire (2001), Soder exemplifies this approach by using cross-hatched strokes, made with a straight-edge, inscribed across the surface of a bright orange and yellow field. The strokes are diagonally situated in relation to one another. Soder employs a technique of thrusts and counterthrusts in order to build-up the tension of the surface. This standard approach to the inscription of marks is used in other paintings of the same scale (80 X 160 cm). For example, in Rhythm (2001), Soder delivers a cool green space, heightened by a flurry of yellow swirls, accented with large umber marks. In contrast to the more heated surface of Art on Fire, the strokes in Rhythm rarely cross over one another. Instead, they appear to float in the green space—dancing and pulsating in energetic bliss."

— from Josiane Soder:
The Rhythm of the Senses

essay by Robert C. Morgan appearing in Josiane Soder: Reconstructing Abstraction

New Book Release

Josiane Soder - Reconstructing Abstraction

 

Josiane Soder
Reconstructing Abstraction

Joan Mitchell
Gerhard Richter
Roy Lichtenstein
David Reed
Joan Miró
Mee Ok Paik
Jennifer Reeves

 

essays by

Robert C. Morgan
Bertrand Kass
Steffan Biffiger
Nick Rogers
Andrea Hill
John Perreault
Piri Halasz
Catherine Rendón
Slawomir Marzec
Nam, Inn-Suk