Ulrich Jenneßen

Studied graphic arts (with Jobst von Harsdorf),
photography (with Lothar Klimek),
and painting (with Gerd Dahlmann)
at the University of the Arts Bremen in the 1960’s

Educated at the University of the Arts Bremen in the 1960’s, Ulrich Jenneßen
has adopted a large range of artistic genres, conjoining these in completely
new pictorial ways. In a highly sophisticated manner, he masters the interplay
of forms and colors, which serves as a basis for all artistic creation. Drawing upon
the potentials of digital image processing, he gives shape to his intensely
emotion-governed ideas. In his very own aesthetic inventions entitled multiforms,
Jenneßen unites the various techniques of photography, graphic arts, sculpture,
and painting in a unique symbiosis. Through the integration of the technical devices
the production process becomes so complex that the genesis of the works is not
immediately comprehensible, remaining a mystery to the viewer.

In a kind of preliminary step, traces of Jenneßen’s aesthetic experiments are
consigned to contemporary image processors as photographic sources for the
subsequent creative procedure of painting. Through specific interventions in the
digital imagery the artist controls the transformation of the initial pictorial inventions.
Here, found objects derived from everyday life, from the junkyard or from nature
are also frequently included, among these wire netting or certain rock formations,
which reappear as reminiscences on the new pictorial surfaces. The works reflect
Jenneßen’s particular interest in surface structures, which overlie the newly
emerging pictorial surfaces like collage-style membranes. In his multiforms,
Jenneßen develops entirely new compositional possibilities through the atypical
treatment via the image processor. In doing so, he completely disrupts the laws of
classical pictorial composition with the intention of making emotional phenomena
more palpable. The dramatic line structures, richly glowing color fields and formal
spheres of his medial works have a strong visual appeal. The leaking color formations
and scrawled, frayed, or straight endless lines are aesthetically rooted in the
artist’s conceptual approach In analogy to processes of nature, ... next Page

Wo 80 cm x 40 cm 2008