Ingeborg Rauss shows how people attempt to find their way in permanently changing organizational structures.
The work of the German Christine de Boom and the Austrian Ingeborg Rauss demands from us that we link them. Both women have more than earned their artistic traces with exhibitions in galleries, museums and on international art fairs.
The work itself of Christine de Boom and Ingeborg Rauss do not seem to have much in common at first glance. Although in their visual language both artists do not let go of the figuration in their work as most of our other artists do. But that is where the outward accordances end. However, what binds both work in terms of content is the theme time.
Reflections on time
On the second sight, the art of Christine and Ingeborg challenges us as spectators to think about the same phenomenon; the time. Both are engaged in their work with the question of what meaning the time in which we live has for us. Their art reflects on our time, but each in its own way.
Ingeborg Rauss makes paintings of acrylic, often together with graphite and paint pen, objects and sculptures of glass, graphics and she also builds installations. But in her visual language she remains fairly consistent. Her work always contains human figures, often in the form of pictograms as we know them from traffic signs and traffic lights. They move in an environment of superimposed grids, geometric frames.
The human figures themselves in the pictures also consist of these grids. In addition, logos, letters, familiar, everyday signs and symbols appear in her work. Ingeborg makes her paintings in four series. From three of these series New German Art has works in its collection: Sign-interpretation-communication, Young-beautiful-successful-adapted and Yesterday everything was fine. She makes intensive use of the computer for the compositions. The colors are bright and rich in contrast.
Ingeborg wants to capture our zeitgeist in her work. As a trained philosopher, Ingeborg has delved into the study of semiotics. Central to her work is the concept of ordering system. Another word that does justice to this concept is organizational structure. She understands contemporary man as an internal ordering system that is simultaneously controlled by seemingly external organizational structures of which he is not or barely conscious. Think of traffic, means of communication, media and the associated technology.
The figures in her work run but seem to have lost all idea of orientation or to be eagerly looking for it. They have become unrecognizable as individuals and as such seem to blend into their environment. The same colors that flow over from the figures to the environment and back and the grids also of the figures reinforce this impression once again. The human icons that she portrays can be understood by everyone around the world. But this global intelligibility is deceitful. For it is precisely in the context of the overlapping grids that they seem to lose their familiar meaning. On reflection, we ourselves, including the artist herself, are these figures who have to find their way in the permanently changing organizational structures around us. And on reflection, we have at the same time always been part of these structures. Her fascinating work constantly tempts us to reflect on this given fact.
About Ingeborg Rauss, her work and her rich exhibition history, you can find several videos on YouTube; among other things about one of her last exhibitions at Galerie Zülow in the Austrian city of Linz. The exhibition was called digital-real and ran until 16 March 2018. After that she was one of the artists shown during the big NEXTCOMIC FESTIVAL in Austria.