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Rebecca Horn: Fata Morgana
Text by Angela Vettese, Iso Camartin. Interview by Doris von Drathen.
Rebecca Horn is always open to new methods for generating art. In recent years she has combined painting and photography to produce “photo-painting,” in which overpainted photographs are rephotographed, overpainted again and photographed again, in a wild dialogue between spontaneity (paint) and document (photography) that erases or obscures the finality of each successive gesture. “For me, the process of photo-painting is more about writing in a variety of rhythms, from tiny dots to scattered paint that spreads in all directions to swiftly touched marks,” Horn testifies. In Fata Morgana she combines photo-paintings with films produced for two cinematic-operatic works, The Deadly Flower and Fata Morgana. In the latter, Horn's photo-paintings abstractly extrapolate the opera's impassioned narrative as it is replete with bloodshed and lunacy, enacting visual narratives in collaboration with the music. Fata Morgana beautifully records this latest development in Horn's work.
FROM THE BOOK
"The moment I make a mark on drawing paper, a conversation begins between the paper, the paint, and me. These three components evolve like their own language and produce images that keep changing throughout the process. So form, idea, and practice combine and evolve in a constantly fluctuating exchange until they condense into an image. And this process of creating layers that flow into and merge with each other is also what produces photo-paintings. Nothing here has been cut out or stuck on--the layers are spontaneous. As I write with new characters, I spread fluidities across the paper. There is something fleeting about them; in their lightness and transparency they’re like a breath of wind."
Rebecca Horn, excerpted from her interview with Doris von Drathen in Fata Morgana.
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FORMAT: Hbk, 9.5 x 12 in. / 144 pgs / 71 color / 2 b&w. LIST PRICE: U.S. $59.95 LIST PRICE: CANADA $70 ISBN: 9788881587537 PUBLISHER: Charta/Moontower Foundation AVAILABLE: 1/31/2010 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: No longer our product AVAILABILITY: Not available
Published by Charta/Moontower Foundation. Text by Angela Vettese, Iso Camartin. Interview by Doris von Drathen.
Rebecca Horn is always open to new methods for generating art. In recent years she has combined painting and photography to produce “photo-painting,” in which overpainted photographs are rephotographed, overpainted again and photographed again, in a wild dialogue between spontaneity (paint) and document (photography) that erases or obscures the finality of each successive gesture. “For me, the process of photo-painting is more about writing in a variety of rhythms, from tiny dots to scattered paint that spreads in all directions to swiftly touched marks,” Horn testifies. In Fata Morgana she combines photo-paintings with films produced for two cinematic-operatic works, The Deadly Flower and Fata Morgana. In the latter, Horn's photo-paintings abstractly extrapolate the opera's impassioned narrative as it is replete with bloodshed and lunacy, enacting visual narratives in collaboration with the music. Fata Morgana beautifully records this latest development in Horn's work.
