KOPER – Paulina An-Zorge

I’ve spent an incredible amount of time thinking about how we externalise the inner self and life. In my art practice, I investigate the structures of living experience ownership. I look at how we connect to create structures around us, attitudes and outlooks.

The only way I can explain that vision coming from my works is that this work already exists. Already have been lived through, it’s just a process of me uncovering it. I want the viewer to have just as much entitlement to reflect on the ‘self’ lifted from the surface as they wish.

When I make a work, I can only attempt to describe the sensation involved in reflecting these commonalities, all of that knowledge is completely embedded into my musculature. I’m interested in the mnemonic nature of body objects and their attendant oral histories and narratives. My audience really is living in between myself and the artwork.

My art practice speculates on the forgotten wisdom of the folk and myth, erased spaces by secular capitalism and conflict and remains an open invitation for discussion.

I’m looking to our material body and its aesthetics for knowledge and inspiration. I think of my artworks as metaphors for collective memory and wisdom suppressed under artificially imposed constructs of ignorant desires.

The narratives of phenomenology and psychology provide the framework for my investigations into ideas of lived experience, cultural conflation and mortality.

My expansive practice parsings the boundaries that divide, protect, isolate and promote individual and collective identities.
I’m seeking to critique systems of ignorance, simplified meanings of human existence and continually return to present marks of time.

I often recall the use of surreal aesthetics as a tool for understanding the body and representations beyond the objects and images.

I use art-making to explore alternative modes of knowledge production and transfer. Recognising art as a tool, a means to test and probe the world, hoping to nurture new strategies for productive engagement. I employ many different media and diverse aesthetic strategies often intuitive and immediate on the trajectory of proposed discourse in my practice that includes painting, sculpture, drawing, video and performance.

Seeking a variety of processes, my studio practice plays a significant role as an instrument or a character in conversation.

I started to make art remembering that my initial reason was to understand the purpose and the nature of a human being. I have always felt within myself that if I find ways to manifest it in my art I would understand more about my own purpose and how to coexist with the purpose of the rest of society.

I consider my art as an extension of the living experience.