Gunna Schmidt

Happy Flows of endless Becoming …

Stepping into the terrain of the intentionally uncontrolled is what marks the challenge of Gunna Schmidt's approach towards abstraction in painting that follows her own conceptual rules.
In her longterm project, the large scale  "Happy Flows of endless Becoming …" series, Gunna Schmidt makes the colour soak directly into unprimed fabric. This method does not allow any corrections and therefore shows traces of painting actions on the same level. The colours becoming one with the fabric give an immediate expression to the painting – as if coming together instantaneously.
This technique is expanded by the invention of a seep-through-method presented in groups of two or more canvases. One canvas following into the other. A single-work-approach is linked into a serial work process. This is to be perceived in the fading traces which copy a previous painting action.
Focusing on the appearance of the colour's material, interacting with the material of the paper or canvas in all possible conditions - such as crinkled versus a classically stretched or an unprimed textile versus a sealed canvas. Gunna Schmidt explores a variety of classical and experimental techniques in order to solve the problem of finding images. These may in the end oscillate between the impulse of spontaneous expression and the production of an enigmatic association.

What is it about your studio space that inspires you?

… I can see a lot of sky when I look out of the window … I try not to become dependent on "my own studio" … it is nice … but honestly new and empty spaces can be inspiring too! I can easily work in an exhibition space and just produce there …

What sounds, scents and sights do you encounter while in your studio?

… I usually opt for silence … but I might as well be found painting while listening to a single piece of music in loop repeat-mode …

What is your favourite material to work with? How has your use of it evolved throughout your practice?

… if it comes to large scale work, I prefer using un-stretched cloth to paint on … the larger the formats, the more lightweight I choose the material … I prefer oil color in a liquid state, it keeps the process economic … but of course I also work with water based colors and mixed media on stretched or primed canvas or paper …

What themes do you pursue?

… there are no "themes" … but inspired I am mostly by the act of painting itself … or by seeing good paintings … and probably by nature … in all its ways how nature shows itself … air … wind … water … abstraction has a strong connection with nature …

What advice has had the biggest impact on your career?

… to hang everything higher …

If you could install your art absolutely anywhere, where would that be?

… definitely not on the moon … but why not in my private museum which I would like to built and design for my work …

If you could only have one piece of art in your life, what would it be?

… there are so many … I am undecided about that …

If you weren´t an artist, what would you be doing?

… probably just looking out of the window being a little bored … and then after a while start doing something about it … again the whole story would start … possibly this time evolving into long poetry, short stories, or minimalistic compositions for chamber-music orchestra …

What are your favourite places besides your studio?

… the mountains … a wild-water river … the seaside … the shadow of a tree on a hot and sunny day … not so much the 'Berghain' …

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