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About Dominik Schmitt
Dominik Schmitt studied art studies and fine arts, biology and educational science at the Landau campus of the University of Koblenz-Landau. Due to the high response to his work, however, he never started teaching. The artist deals primarily with the philosophical and biological question of the self and the unmanageable network of causes and effects to which everything in life is subject.
Embedded in wallpaper patterns, symbols and ironic text fragments, Schmitt always paints human and / or animal figures with a dissecting view of the inside. Open bodies and labeled organs are reminiscent of analytical teaching images from biology. The mostly large canvas works look gloomy on the outside, but on closer inspection reveal themselves as positive and hopeful in terms of content, with a lot of irony and a very own sense of humor. They impress with their enormous attention to detail and multilayered legibility - always with personal reference to Schmitt's biographical background.
A painter whose ultimate goal is to be authentic. His technique is also unconventional and idiosyncratic - a mixture of collage elements, gestural pen scribbles and old-master-style bodies made of oil. He does everything the way he likes it and nothing he doesn't like, according to the artist himself. According to Schmitt's approach, the compositions result, like everything in life: from the process.
This creates a visual language that always tries to expose the innermost being and things. One seems to be caught immediately and embarks on a fascinating journey of discovery through countless details, allusions and overlays. For this reason, Schmitt's work is in great demand. They have already been seen in museums in Paris, Germany and Istanbul as well as in galleries and international trade fairs in Europe and the USA.
About Naima Aouni
NaÏma Aouni (°1987) has been walking the path of figurative drawing and painting for a number of years. Her love for figures can be pointed to the exposure of Seventeenth-century art. Especially the works of Caravaggio and Velazquez, grabbed her attention early on. How these masters portrayed the human figure fascinated her immensely.
The Japanese title Wabi-sabi stands for a world view of accepting imperfection and transience. This concept manifests itself also in a visual manner by leaving the painting in an unfinished stage. The figure in her paintings often finds himself or herself in an isolated undefined space. Which evokes a sense of loneliness and melancholy, a theme that’s prevalent in Aouni’s work.
The process of starting any new paintings is by organizing photoshoots with models she feels strong kinship for. Through her chosen models she is compelled to paint her world view, her state of mind. It's her way trying to make sense of the vast ever-changing landscape we live in.