Vivian Greven

Vivian Greven

Vivian Greven

Vivian Greven

Vivian Greven

About

About

Selected works

Selected works

About

The exhibition BUDUMN provides insights into the poetic and powerful artistic work of Vivian Greven. Paintings, objects, graphic works and texts by the artist are shown, which address – each in their own nuanced ways yet with a consistently conceptual and visual focus – the fundamental meaning of human existence, sensorial perception and sensuality. Working at the interface between figurative, conceptual and abstract painting, Vivian Greven effortlessly overcomes the traditional boundaries of classic artistic genres, employing various modes of artistic expression such as painting, graphic art and sculpture in order to explore the central subject of her artistic pursuit: the dualism between proximity and distance as well as the in-between and the counterpart or the vis-à-vis.

In her current artistic work, Vivian Greven begins with digital representations of striking details in baroque or classicistic sculpture (such as by Gian Lorenzo Bernini or Antonio Canova), which she then puts into focus, enlarges and transfers to her drawings, paintings or installations. This process not only creates a mimetic shift from the three-dimensional original to the two-dimensional image carrier via the digital representation, but it also enables the artist to perform a concise transferral of phenomenological connotations that run through centuries of art history. Whilst baroque or classicistic works of art mostly depict full- gure sculptural groups, Greven’s representations of the body are almost exclusively reduced to the head or torso. By focusing on details and layers or surfaces, they mostls evade any sense of clarity and unambiguity. By virtue of the mimetic process (which does not serve to imitate art historical topoi but to expand and juxtapose them) and of the artist’s masterful representation of human skin, Vivian Greven’s paintings initially seem to have fallen out of time. Yet in their semantic, formal and conceptual explorations, they are highly contemporary and coherent – not because they adhere to any one artistic style, but because of their aesthetic approach: an empathetic observation of sensuality and sensibility and a general openness for the in nite possibilities in which form, sense and – above all – sensual associations are created and can be perceived.

The exhibition BUDUMN provides insights into the poetic and powerful artistic work of Vivian Greven. Paintings, objects, graphic works and texts by the artist are shown, which address – each in their own nuanced ways yet with a consistently conceptual and visual focus – the fundamental meaning of human existence, sensorial perception and sensuality. Working at the interface between figurative, conceptual and abstract painting, Vivian Greven effortlessly overcomes the traditional boundaries of classic artistic genres, employing various modes of artistic expression such as painting, graphic art and sculpture in order to explore the central subject of her artistic pursuit: the dualism between proximity and distance as well as the in-between and the counterpart or the vis-à-vis.

In her current artistic work, Vivian Greven begins with digital representations of striking details in baroque or classicistic sculpture (such as by Gian Lorenzo Bernini or Antonio Canova), which she then puts into focus, enlarges and transfers to her drawings, paintings or installations. This process not only creates a mimetic shift from the three-dimensional original to the two-dimensional image carrier via the digital representation, but it also enables the artist to perform a concise transferral of phenomenological connotations that run through centuries of art history. Whilst baroque or classicistic works of art mostly depict full- gure sculptural groups, Greven’s representations of the body are almost exclusively reduced to the head or torso. By focusing on details and layers or surfaces, they mostls evade any sense of clarity and unambiguity. By virtue of the mimetic process (which does not serve to imitate art historical topoi but to expand and juxtapose them) and of the artist’s masterful representation of human skin, Vivian Greven’s paintings initially seem to have fallen out of time. Yet in their semantic, formal and conceptual explorations, they are highly contemporary and coherent – not because they adhere to any one artistic style, but because of their aesthetic approach: an empathetic observation of sensuality and sensibility and a general openness for the in nite possibilities in which form, sense and – above all – sensual associations are created and can be perceived.

The exhibition BUDUMN provides insights into the poetic and powerful artistic work of Vivian Greven. Paintings, objects, graphic works and texts by the artist are shown, which address – each in their own nuanced ways yet with a consistently conceptual and visual focus – the fundamental meaning of human existence, sensorial perception and sensuality. Working at the interface between figurative, conceptual and abstract painting, Vivian Greven effortlessly overcomes the traditional boundaries of classic artistic genres, employing various modes of artistic expression such as painting, graphic art and sculpture in order to explore the central subject of her artistic pursuit: the dualism between proximity and distance as well as the in-between and the counterpart or the vis-à-vis.

In her current artistic work, Vivian Greven begins with digital representations of striking details in baroque or classicistic sculpture (such as by Gian Lorenzo Bernini or Antonio Canova), which she then puts into focus, enlarges and transfers to her drawings, paintings or installations. This process not only creates a mimetic shift from the three-dimensional original to the two-dimensional image carrier via the digital representation, but it also enables the artist to perform a concise transferral of phenomenological connotations that run through centuries of art history. Whilst baroque or classicistic works of art mostly depict full- gure sculptural groups, Greven’s representations of the body are almost exclusively reduced to the head or torso. By focusing on details and layers or surfaces, they mostls evade any sense of clarity and unambiguity. By virtue of the mimetic process (which does not serve to imitate art historical topoi but to expand and juxtapose them) and of the artist’s masterful representation of human skin, Vivian Greven’s paintings initially seem to have fallen out of time. Yet in their semantic, formal and conceptual explorations, they are highly contemporary and coherent – not because they adhere to any one artistic style, but because of their aesthetic approach: an empathetic observation of sensuality and sensibility and a general openness for the in nite possibilities in which form, sense and – above all – sensual associations are created and can be perceived.

The exhibition BUDUMN provides insights into the poetic and powerful artistic work of Vivian Greven. Paintings, objects, graphic works and texts by the artist are shown, which address – each in their own nuanced ways yet with a consistently conceptual and visual focus – the fundamental meaning of human existence, sensorial perception and sensuality. Working at the interface between figurative, conceptual and abstract painting, Vivian Greven effortlessly overcomes the traditional boundaries of classic artistic genres, employing various modes of artistic expression such as painting, graphic art and sculpture in order to explore the central subject of her artistic pursuit: the dualism between proximity and distance as well as the in-between and the counterpart or the vis-à-vis.

In her current artistic work, Vivian Greven begins with digital representations of striking details in baroque or classicistic sculpture (such as by Gian Lorenzo Bernini or Antonio Canova), which she then puts into focus, enlarges and transfers to her drawings, paintings or installations. This process not only creates a mimetic shift from the three-dimensional original to the two-dimensional image carrier via the digital representation, but it also enables the artist to perform a concise transferral of phenomenological connotations that run through centuries of art history. Whilst baroque or classicistic works of art mostly depict full- gure sculptural groups, Greven’s representations of the body are almost exclusively reduced to the head or torso. By focusing on details and layers or surfaces, they mostls evade any sense of clarity and unambiguity. By virtue of the mimetic process (which does not serve to imitate art historical topoi but to expand and juxtapose them) and of the artist’s masterful representation of human skin, Vivian Greven’s paintings initially seem to have fallen out of time. Yet in their semantic, formal and conceptual explorations, they are highly contemporary and coherent – not because they adhere to any one artistic style, but because of their aesthetic approach: an empathetic observation of sensuality and sensibility and a general openness for the in nite possibilities in which form, sense and – above all – sensual associations are created and can be perceived.

The exhibition BUDUMN provides insights into the poetic and powerful artistic work of Vivian Greven. Paintings, objects, graphic works and texts by the artist are shown, which address – each in their own nuanced ways yet with a consistently conceptual and visual focus – the fundamental meaning of human existence, sensorial perception and sensuality. Working at the interface between figurative, conceptual and abstract painting, Vivian Greven effortlessly overcomes the traditional boundaries of classic artistic genres, employing various modes of artistic expression such as painting, graphic art and sculpture in order to explore the central subject of her artistic pursuit: the dualism between proximity and distance as well as the in-between and the counterpart or the vis-à-vis.

In her current artistic work, Vivian Greven begins with digital representations of striking details in baroque or classicistic sculpture (such as by Gian Lorenzo Bernini or Antonio Canova), which she then puts into focus, enlarges and transfers to her drawings, paintings or installations. This process not only creates a mimetic shift from the three-dimensional original to the two-dimensional image carrier via the digital representation, but it also enables the artist to perform a concise transferral of phenomenological connotations that run through centuries of art history. Whilst baroque or classicistic works of art mostly depict full- gure sculptural groups, Greven’s representations of the body are almost exclusively reduced to the head or torso. By focusing on details and layers or surfaces, they mostls evade any sense of clarity and unambiguity. By virtue of the mimetic process (which does not serve to imitate art historical topoi but to expand and juxtapose them) and of the artist’s masterful representation of human skin, Vivian Greven’s paintings initially seem to have fallen out of time. Yet in their semantic, formal and conceptual explorations, they are highly contemporary and coherent – not because they adhere to any one artistic style, but because of their aesthetic approach: an empathetic observation of sensuality and sensibility and a general openness for the in nite possibilities in which form, sense and – above all – sensual associations are created and can be perceived.

Selected works

Selected works

Selected works

Selected works

Selected works

1. Leea, 2017, Oil, 120x110cm

2. Sybill V, 2017, Oil, 55x40cm_beschnitten

3. Lau, 2017, Oil, 31x25cm

4. Lamia, 2017, Oil, 43x32cm

5. Thezia, 2017, Oil, 43x35cm

6. Acuae, 2017, Oil, 40x20x20cm

7. Untitled (Grazie), 2017, Oil, 43x33cm

8. Untitled(Grazia), 2017, Oil, 55x50cm

1. Leea, 2017, Oil, 120x110cm

2. Sybill V, 2017, Oil, 55x40cm_beschnitten

3. Lau, 2017, Oil, 31x25cm

4. Lamia, 2017, Oil, 43x32cm

5. Thezia, 2017, Oil, 43x35cm

6. Acuae, 2017, Oil, 40x20x20cm

7. Untitled (Grazie), 2017, Oil, 43x33cm

8. Untitled(Grazia), 2017, Oil, 55x50cm

1. Leea, 2017, Oil, 120x110cm

2. Sybill V, 2017, Oil, 55x40cm_beschnitten

3. Lau, 2017, Oil, 31x25cm

4. Lamia, 2017, Oil, 43x32cm

5. Thezia, 2017, Oil, 43x35cm

6. Acuae, 2017, Oil, 40x20x20cm

7. Untitled (Grazie), 2017, Oil, 43x33cm

8. Untitled(Grazia), 2017, Oil, 55x50cm

Hohe Straße 53

40213 Düsseldorf Germany

Hohe Straße 53

40213 Düsseldorf, Germany

Hohe Straße 53

40213 Düsseldorf, Germany

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©2020
SETAREH X

©2020
SETAREH X

©2020
SETAREH X

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