Stephanie Mann (°1990, Dunfermline, United Kingdom) is an artist who works in a variety of media. By experimenting with aleatoric processes, Mann creates work through labour-intensive processes which can be seen explicitly as a personal exorcism ritual. They are inspired by a nineteenth-century tradition of works, in which an ideal of ‘Fulfilled Absence’ was seen as the pinnacle.
Her artworks are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By studying sign processes, signification and communication, she often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
Her works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. By referencing romanticism, grand-guignolesque black humour and symbolism, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
Her works are often classified as part of the new romantic movement because of the desire for the local in the unfolding globalized world. However, this reference is not intentional, as this kind of art is part of the collective memory. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, she makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
Her works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By emphasising aesthetics, she formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
Her works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. Stephanie Mann currently lives and works in Edinburgh.
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