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Lola Sprenger

Letter to the Future

31 May - 22 June 2019

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About The Artist

About

Works from the series Letter to the Future present nostalgic projections of futuristic reality, based on allusions of the past and transformed by memories that load the effects of the present moment. Lola’s landscapes are not tangible zones, nor are they determined by time and space, although they are based on the memories of a little girl walking through the forest while observing the world; metamorphosis of nature as a metaphor of progressive economic goals that have changed the direction of movement and have reached a level of merciless exploitation of every resource in which the capital is recognized.

Lola Sprenger searches for a visual reflection of the non-visual world, reviving the interspaces in which we exist and playing around with the limits of our perception.

Fluorescent radioactive hues, toxic clouds of dust, smoke in toxic values can remain invisible to our senses, while at the same time we suffer the consequences. The painting is the result of the so-called reality, which above all reflects the subjective attitude of the artist, as is the impression inherent in the observer through the principles of his subconscious and learning process.

Works from the series Letter to the Future present nostalgic projections of futuristic reality, based on allusions of the past and transformed by memories that load the effects of the present moment. Lola’s landscapes are not tangible zones, nor are they determined by time and space, although they are based on the memories of a little girl walking through the forest while observing the world; metamorphosis of nature as a metaphor of progressive economic goals that have changed the direction of movement and have reached a level of merciless exploitation of every resource in which the capital is recognized.

Lola Sprenger searches for a visual reflection of the non-visual world, reviving the interspaces in which we exist and playing around with the limits of our perception. Fluorescent radioactive hues, toxic clouds of dust, smoke in toxic values can remain invisible to our senses, while at the same time we suffer the consequences. The painting is the result of the so-called reality, which above all reflects the subjective attitude of the artist, as is the impression inherent in the observer through the principles of his subconscious and learning process. Ideas, symbols and metaphors can be devaluated over time, when they cease to communicate with their meanings in relation to social changes that stimulate metamorphosis of memory and transform the interpretation of reality.

Sprenger develops a hybrid artistic process at the border between painting and drawing, exclusively with dry pigments on a paper in which, in the final stage, the bright and dark hues of pigmented powder are rubbed by energetic movements. In one type of dry painting, she finds a method that opposes the literary pathos, which she despises.

Letter to the Future series is characterized by a strong and stylized expression, in a fluid atmosphere of melancholy, with the ubiquitous heralds of instability, which increases the charge of electrified, dynamic abstractions. Colors based on complementary relationships mesmerize with the vibrating impressions of warm and cold energy currents, hold the gaze and disintegrate the field of view by fluorescent impressions, creating a psychedelic landscape of toxic, destructive processes that trigger the erosion of idyllic “memories” of the mythological garden as a symbol of untouched nature.

Bright neon hues vis-a-vis the variation of a brown color compose the mystical atmosphere of a forest where nature changes its aggregate states. The last cycle contains the energy of green and red, orange and yellow that pulsate vis-a-vis the shiny hues of brownish-green, misty gray, corrosive and glittering skies.

The composition is a fusion of abstract places and playing about with figuration. Threatening places that break apart and shattered in flashes and light effects caused by the appearance of archetypal creatures, which are both human and animal beings, even when they are not present, their destructive role is emphasized as paranoid shadows on the move.

Lola’s works offer a wide range of possibilities for symbolic and metaphorical interpretations that are contained above all in the details, the most sensitive parts of the painting. For the artist, the wealth of fragments presents pure and true principles that can be degraded in the abundance of the abstract, while in general they integrate into a unique provocative content.

She observes images as a game of the mind, which eliminate the distance between form and content, between figuration and abstraction; where perspective has no significance, and the space opens in details.

For Lola’s works significant are pop culture phenomena such as the TV show Leftover by David Lynch, which through intellectual processes about the brutality of the absurd, collective consciousness that is not questioned by society, foresees the future that is almost present. She also finds her inspiration in works of artists such as Kirkeby, Munch, Matt, Cecily Brown and Dana Schutz.

During her studies, creative communication with professors Daniel Richter and Markus Olen influenced her work and inspired her artistic process. Insisting on the creation that brings the truth, it is based on the richness of meaning and thus becomes a legacy of one time, an authentic expression of human skill and creativity, along with the reaction of rebellion against every triviality.

Lola doesn’t want to impose herself as a moral authority, but rather performs as a painter/a witness to the space in which she travels through time, highlighting the chaotic tendencies of rapid changes in the system of global spectacle, leading to simulation of reality through the media of virtual communication, while stimulating

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About The Artist

LOLA SPRENGER was born in Starnberg in 1983. She started her studies at the Academy of Fine Arts in Munich (2011/2012) in the class of Professor Jean Mark Bustamante.

In 2012 she continued her studies under supervison of professor Markus Oehlen, where she graduated in 2018. Driven by a special idea of painting, she pursued her education with professor Daniel Richter, who invited her to his class as a guest student at the Academy of Fine Arts Vienna in 2014 and in 2017 she joined his class as an matriculated student.

Lola Sprenger was born in Starnberg in 1983. She started her studies at the Academy of Fine Arts in Munich (2011/2012) in the class of Professor Jean Mark Bustamante. In 2012 she continued her studies under supervison of professor Markus Oehlen, where she graduated in 2018. Driven by a special idea of painting, she pursued her education with professor Daniel Richter, who invited her to his class as a guest at the Academy of fine arts in Vienna in 2014, and in 2017 she joined his class as an matriculated student. Since then, she has been at her Master Studies under supervision of professor Daniel Richter.

During her studies she has been attending classes at several European Universities. In addition to that, she received various scholarships, such as the BAYHOST scholarship and the scholarship of the Ministry of Bavaria (2014/2015), which both gave her the opportunity to study at the Academy of Fine Arts in Belgrade with professor Simonida Rajcevic.

Through representations of radioactive landscapes she transposes metaphorical portrayal of the collective state of the society. The pragmatic critique of rapid changes relates to capitalist order in which we lose empathy and consciousness.

Lola Sprenger creates a unique technique to build hybrid solutions between painting and drawing, directly applying dry pigments on a colored paper.

She represented her work on many exhibitions throughout Europe. Works of Lola Sprenger are part of a private art collections located in Munich, Berlin, Hamburg, Salzburg, Vienna, London and Belgrade.