Page 17 - WOWwART

Anina Brisolla’s captivating creations are a testament to her extraordinary talent and vision. Her work masterfully bridges the realms of art and technology, evoking deep emotions and sparking meaningful conversations. Each piece reflects her dedication to pushing boundaries, making her a true inspiration in the contemporary art world.
The image made me wonder what this would imply. So I printed it and started drawing directly onto the print. The image had a dark romanticism about it, almost like some sort of
Anina Brisolla’s art is a profound fusion of intellect and creativity, offering bold critiques of societal and environmental paradigms.
thing we do there?
often has some ‘kitschy’ aspect to it, this creates an interesting tension.
Shifting between different media, from video to installation, seems to be a key aspect of your work. What influences your decision to choose one medium over another for speci- fic projects?
A new project usually arises from direct involvement with a specific topic, reading or watc- hing a documentary for examp- le. I have always been interested in how digitalization affects society. And at the same time, the transfer between digital and analogue media is an idea that has characterized my work for
a long time. For me, it therefore seems just logical to include
the choice of working material in the conceptual process with every new project.
Sometimes I work with a kind of ‘reverse engineering’ and that also determines the final result.
Some of my work of recent ye- ars deals with the process of 3D printing in this analytical way.
I replaced the mechanics of the print head, which is calculated and controlled by the computer, with the movement of my hand along predetermined lines of movement.
Could you explain the significance of the 40,000-bead installation ‘8 Milliarden’ in your SMAC exhibition and how it complements the other works?
‘8 Milliarden’ - 8 billion
- corresponds to the current population of the world. In my exhibition called ‘space mining’ at SMAC I created work along three timelines: past – present
– future.
We stake out land, put up fences and take possession. This is already happening now. Not literally like in my drawings, but the race to be the first has
long since begun. And even though there are regulations and acts like for example the ‘Outer Space Treaty’ from 1967, the economic interests are a strong engine to fuel this „New Space Economy“ Space is already full of junk. Wherever men will go, a line of left behinds shows our appearance.
‘8 Milliarden’ is thus to be seen as the present. I wanted
to see the world’s population manifested and at the same time know for myself how big this pile would be. There is an ad- dition to the title: M 1:200.000. This is the scale in which the work is carried out. So one pearl corresponds to the population
heavy-metal cover-artwork. That triggered me. As I continued
the ‚prospect‘ serie, I started to work with a program similar to Google Earth, but in space. This allowed me to explore space and ‚take pictures‘ of sceneries stars, exoplanets,etc.
How do you view the intersection between environmental politics and space exploration in your work, par- ticularly with the concept of space enclosures?
I consider fencing off an
area to be an ancient cultural technique. In this we visibly separated ourselves from nature and in doing so, we have placed ourselves above nature.
What will we humans do after having destroyed this world? We fly to another planet and colonize it. And what is the first
Could you describe the specific process you follow to achieve the fi- nal layered look in your pieces, espe- cially when working with large-scale images that you draw over?
For the ‘prospect’ series, I worked from real models. This means that the fences and walls I drew there all have a real place in the world. My work is often preceded by intensive research and I like to use images that
are anchored in the collective consciousness.
For ‘prospect’ for example
I collected a lot of material
of border fences and walls. I found it interesting to pursue questions of materiality onto another planet, so I decided for a way of drawing that is both realistic and painterly somehow and you get an idea of what the thing is made of. As the imagery
of a middle sized city such as Kassel here in Germany or i.e. Norwich in the UK.
‘space mining’ denotes the concept of mining raw materials in space. Optimistic scientists predict that in twenty years‘ time, it will likely be possib-
le to apply those techniques. Globalization has mapped the world anew and revealed the finitude of raw materials. The quest for resources has always inspired the human spirit - and attempts to pursue them have had a lasting impact on human history. This is where I started my artistic reflection on the topic, questioning the motives of the actors involved. I conceived this model of the present in order to use it as a starting point for these considerations.
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