TANJA ROCHELMEYER: ReConnected

Tanja Rochelmeyer's (* 1975 in Essen) paintings can be described as visions of spaces. They contain codes of a modernist architectural vocabulary in the form of angular, dynamic spatial lines. The strong surface effect of the monochrome sections, which are superimposed on one another in multiple layers and penetrate one another, is contrasted by rudiments of perspective alignments that optically lead into depth. They are islands of illusionism - like the already described light-dark gradients - without a concrete mimetic function, that is, without allowing the depicted space to become truly measurable or tangible. In her works, Tanja Rochelmeyer creates the labyrinthine, absurd structure of a fragmented space that bears echoes of the multiperspectivity of a cubist concept of the image. But her paintings are only partly concerned with optical questions. They are more likely to be grasped under transperspectival aspects as hybrids between physical and virtual space. Her works have been convincingly referenced as echoes of the intangible expanse and polydimensional structure of the Internet, which is increasingly intertwined with our primary sensory experiences. Yet the presentness of Tanja Rochelmeyer's painting, against the backdrop of the genesis of her work, could also be described as a somatic impulse inflicted by modernism on our contemporary artistic imagination.

In the GALLERIA SACCHETTI, the Berlin-based artist - it is the first solo exhibition in Ascona - shows, in addition to painting, her latest works - a series of colored plexiglass works. Everything that makes up the paintings can be found in the acrylic works: compression, stretching, spatial nesting, perspective alignments, depths, recesses and abrupt ends. Thanks to the colored Plexiglas, however, many additional planes and axes of vision are created in the objects. The view through to the segment, surfaces lying behind the outer shell, and also the additional painting of individual parts, increases the degree of the complex construction, which can hardly be grasped. For the new group of works made of layered acrylic glass elements, the paintings of recent years provide the motivic framework.