Jenny Brosinski‘s minimalistic abstract paintings reflect an artistic language reminiscent of automatic writing, which is built up from individual stories on big canvases. The Berlin-based artist follows a reductivist approach to painting by restricting the creative gestures on canvas. Her paintings directly engage the viewer with the concept of deconstruction by demonstrating deftly uncoordinated compositions that “deliberately reveal traces of use, whereby the nature of their materiality is brought to the foreground”, as the painter highlights herself.

Minimal mark-making, apparent brushworks and spray-painted compositions make her artworks characterised by spontaneity in appearance, while maintaining their mindfully balanced components in an alluring visual expression. Brosinski puts a clear emphasis on the idea of deconstruction by highlighting a painting methodology expressed through a chromatic anguish that determines almost all her paintings. Showcasing a process-oriented philosophy, the idea of deconstruction offers herself a great lesson.

The artist aims to derive benefits from the materials she uses, such as linen and cotton. She exploits their textual qualities on canvas in order to reveal deeper and more emotional reactions from the viewers. Brosinski adopts an approach to painting that envelops together both intellectual and distinctively personal rules. At first glance her paintings introduce new forms of communication between irregular lines, childish squiggles, colours looking like stains, abstract marks or even famous cartoons. On top of that this uncomfortable visual allegory suggests a sharp-witted, effective and energetic juxtaposition on canvas elaborating the artist‘s emphasis on materiality, raw arrangements and simplistic shapes. In this respect, Brosinski creates a painting and then deconstructs and reconfigures it, eventually developing new possibilities based on the first creative arrangement.


Text: Yannis Kostarias