Svenja Deininger regards painting as a process: she does not consider her pictures, on which she often works over long periods of time, to be self-contained entities. The process of creating an image rather serves to stimulate reflection and acts as a mental continuation of a form or composition – the imagining of the future picture and how it is located in a spatial context are thus essential elements of the artistic process. As if working on a text the artist elaborates and polishes the syntax of her art. She considers her works to be parts of a system that require their interrelations to be analysed whenever they encounter one another. She alternates large and small format pictures and by means of combining and positioning them in a space she creates a tension, which, together with her range of shapes, results in a ‘Deiningerian idiom’.
For her show Echo of a Mirror Fragment in the main exhibition space of the Secession, Svenja Deininger has created a new body of work comprising more than 40 paintings. Inspired by the unique architecture of the Secession, with its peculiar tension between the floral ornaments of the facade on the one hand and the astonishingly austerely designed exhibition space with its clear lines on the other, the new paintings echo this contrast by juxtaposing straight lines reminiscent of architectural blue-prints with more organic elements: rounded shapes, wavy lines and curves, in which, despite their fragmentary character, there is even a faint suggestion of figurative representation.