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Künstlermonographie Sybille Will

20 ­process lead to uneven edges that − like the entire background–are ultimately painted over with white. Unconventional combinations of media and interve- ning layers of varnish prevent the layers of paint from homogeneously binding together, and they often lead to craquelure, a mesh-like net of cracks on the sur- face of a picture. The gaze of the ­viewer can thus more ­easily penetrate into the image. This is also facilitated by the selection of reserved, thinned-down, and transparent colors, which invite us to look through the many layers and to perceive the deeper-lying layers (of color). Viewing the pictures is thus like a journey to the core of the depicted being, but also to ourselves. The figure displays its inside; its skin is thin and delicate. The eye perceives the process of the many applications of color as layers of skin, as molting, as experience. As viewers, we simultaneously engage with our own inner self and reflect upon what we see, and we search for the same sort of feelings and experiences in ourselves. The palette of colors in the figures is dominated by gentle pastels and strongly contrasting shades of black. In the painting, the visible lines are intuitively based on the idea of the sketch and indicate a sense of in- completion and improvisation. Occasionally, pictures also contain black-red contrasts or bright orange or yellow lines. Regarding this point, Will says: “As artists, we always want to break through our own ‘canon.’ That is important, even just to keep things exciting for ourselves.” For the artist, ephemerality plays a major role − not just in relation to (her) art. Although human temporality is omnipresent in the media, few of us relate this circum- stance to the context of our own lives. A look at Will’s pictures vividly demonstrates that all of our lives are ephemeral and thus awakens a certain sense of me- lancholy. In spite of or, perhaps, precisely because of this, we surrender ourselves over to the greater whole, The gaze of the viewer can thus more easily penetrate into the image. Abb. links Nowhere 2010 Mischtechnik auf Leinen 120 x 80 cm Abb. rechts See Me 2011 Mischtechnik auf Leinwand 100 x 80 cm