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With swift and bold brushstrokes painter Vera Kersting (1997) creates scenes that seek to transcend boundaries and dualisms. Her works are often unheimlich, eery meditations on spaces in-between that merge past – present, fiction – reality, distance – intimacy, aggression – contemplation, subject – object. In her series I had to bow she said, Kersting interprets her grand-mother’s memories on her internment in a Japanese concentration camp in Indonesia during WWII. Underlying them is the experience of physical violence, humiliation, moral and mental depletion. The paintings visualize a fluid and fragile interplay between verbalised memory and emotional experience. Although based on personal photographs the paintings fade into a more universal realm where mind and body interplay.
“I had to bow she said is a project based on family memories of the Japanese internment camp in Indonesia. Personal narratives led to research on the history of Indonesia, including the 1965 Coupe, and Western imperialism. This research put me in touch with Taring Padi, an Indonesian activist art collective born out of the Suharto regime, with whom I collaborated for four months on an anti-colonial banner in Yogyakarta, Indonesia and Brisbane, Australia. In my work, colour arrangement is important, colours never stand alone — the temperature is influenced by the colors next to it. Often, I seek color combinations that generate a toxic atmosphere or arouse aggression. Seemingly opposite emotions come together — there is a recurring play between humor and suffering, comfort and longing.”
Vera Kersting
“I had to bow she said is a project based on family memories of the Japanese internment camp in Indonesia. Personal narratives led to research on the history of Indonesia, including the 1965 Coupe, and Western imperialism. This research put me in touch with Taring Padi, an Indonesian activist art collective born out of the Suharto regime, with whom I collaborated for four months on an anti-colonial banner in Yogyakarta, Indonesia and Brisbane, Australia. In my work, colour arrangement is important, colours never stand alone — the temperature is influenced by the colors next to it. Often, I seek color combinations that generate a toxic atmosphere or arouse aggression. Seemingly opposite emotions come together — there is a recurring play between humor and suffering, comfort and longing.”
Vera Kersting
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