For some time Claudia-Maria Luenigs artistic interventions have been focused on the diverse imaginations of the Female. In opulent compositions she carefully layers selected presentations of women from equally familiar and opposite worlds, arranging a chance meeting of religious saint images, damaged shop front dolls, fashion drawings from the 50´s with glossy photos of sex models and prostitutes.
The confrontation takes place both on the more classical level of representation like canvas and paper as well as on rather unconventional image carriers like crocheted doilies and textiles like lace, silk, plush and velvet, which additionally are decorated with stitched applications.
These partially absurd, partially piquant confrontations of dissimilarity are not concerned with an analysis of the cultural fate of the female. Rather do they assess the space between these diverging images of women and refer to female desire, the possibility of self perception and self direction away from the demand of social expectations.
While the aesthetic explorations of the last years have displayed the female body as a central protagonist, Claudia-Maria Luenig undertakes a radically different way in her recent body of work.
In “CORPUS ALTER” she presents new objects from which the body has disappeared.
Formally all the art objects are .pieces of clothing. Overall, pants, shirt and corsetry are representative for the second skin which covers the civilised body, protects him from outside influences and further is a substantial part of his nonverbal communication.
Unlike our idea of garments, costumes or masks, the exhibited models are not really wearable. Rather these textile sculptures reduce possible forms of representation of one piece to the smallest common denominator and therefore redefine the concept of clothing anew.
While the artist used female cultural techniques in the older works, technically the new works have been created with domestic diligence. With an ironic undertone they combine technique and material that do not belong together.
The garments are crocheted from synthetic coated electrical cable.
The bulky, in this context surrealistic appearance of the material, and the dimension
of the elaborate pieces which request a complete body involvement,
counteract our common perception of clothing.
The simple, awkwardly tailored parts have nothing in common with delicate undergarment.
Their graphic enmeshing which is broken up by netting in an old fashioned manner, resembles coats of chain-mail, an association well intended,
as the artist attempts to analyse the varied social processes of treatment which aim to” restrict, tame or constrict women”
Therefore the specific materiality of the artwork redirects the view to the reality of absence, the female body. The empty place represents the body. It defines the personal space but also the trajectory between I and the World, a space that requires constant recapturing and reforming.
Will it be possible to forge a link between sense and sensibility by creating desire and longing, self-confidence and strength under new parameters?
Claudia-Maria Luenig responds to this question with a personal utopia.
In her works she communicates and develops ideas and conceptual patterns, offering these without persistence, whereby with a wink she relies on the viewer´s ability to acknowledge behaviour patterns and adapt models.