Auf der Hinterbuhne (after Edgar Degas) 2005
2003 Mercury Marauder Paint Defects II 2005
a purse in the work
Schmidt uses painting as a discursive tool and creates a complex network of relationships. Her installations often have fragmentary character and are constructed from various languages of painterly representation. On the one hand one finds an abundance of painterly glamour, richness, time consuming labour and Old-Master details. These images are in flux and show for instance, a dancing and flesh coloured being. The material of her work comes from various sources reaching from art historical references to diverse aspects of commodity culture, as for instance, a purse in the work “Untitled (mirror)”. The questioning of the decorative quality as well as the commodity and fetish character of painting are integrated in her work. On the other hand some of her works show a graphic, almost ordered and reduced character. In the work “Untitled (Euro Note)” squiggles are forced into triangles. A contrast comes about between apparently luxurious description and a negligent provisional quality. The double procedure of enriching and reducing, of overabundance and reduction, of extravagance and abstention becomes In Schmidt’s case, a deconstruction of painting. The medium of painting is not rejected but continuously re-investigated in its new forms of appearance, as in the work “Untitled (Line up)”.