Karin Kneffel greift für ihre techn

Karin Kneffel greift für ihre technisch ausgefeilten Arbeiten auf selbst angefertigte Fotografien zurück, von denen sie mehrere gleichzeitig als kompositorische Vorlage verwendet. So entstehen Perspektiven, über die die Malerin selbst sagt: "Man muss etwas länger hinschauen, um zu merken, dass nichts stimmt [...]. Man kann sich selbst darin gar nicht richtig verorten." Scheinbar mühelos verbindet sie künstlerischen Anspruch mit einer ungemein reizvollen Ästhetik, die zwischen Fotorealismus und Unschärfe oszilliert.

Results (English) 1:

Karin Kneffel accesses for their sophisticated work itself made photographs, of which she also used several as a compositional template. So are prospects, which the artist himself says: "you have longer to watch, to remember that nothing is true [...]. You can itself is not properly situate themselves." Effortlessly combining artistic claim with an immensely charming aesthetics, which oscillates between photorealism and blur.

Results (English) 2:

Karin Kneffel uses for their sophisticated work on self-made photographs, which they used several simultaneously as a compositional template. This creates opportunities, says about the artist himself: "You have to look a little longer to realize that nothing is true [...] One can not situate themselves in it even correct.." Seemingly effortlessly, she combines artistic ambition with an incredibly sexy aesthetic that oscillates between photorealism and blur.

Results (English) 3:

Karin Kneffel does for your sophisticated work on makeshift photographs back, of which more than one at the same time as a compositional template you used. As a result, prospects on the painter himself says: "You must take a closer look, in order to remember that nothing is true ... You can make your own is not right." Seemingly effortless artistic aspiration connects you with a very charming aesthetics, the blurring between photorealism and oscillates.