ROSA ZANGENBERG

CONTACT:
ROSA-MZ@HOTMAIL.COM
R.ZANGENBERG@STUDENT.KABK.NL

WEBSITE:
ROSAZANGENBERG.DK

INSTAGRAM:
ROSAMZ

Final exam dossier

Reflecting on my work and presentation of these at the pre-exam show, I see some improvement with regards to the freedom in which I produce my works especially concerning the way I use my materials and handle my canvas. Also, with the exhibition, I came closer to my attitude towards the handling of a painting and what defines a painting and. I am considering the thought if my works should rather be considered as painted object surfaces since a painting usually tend to see the surface as only a canvas. I want my surface to be just as important as the possible illustration. I regard the result of my pre-exam more as a study and the same goes for most of the works exhibited. It is clear that the room in which I presented was dominant and, after some reflection, perhaps not optimal due to its dominant features and large size.

During the past years, my work has continuously evolved around depicting and embodying human skin and faces. These subjects are still present but as these subjects are rather heterogeneous, they always have the possibility to expand and evolve. Naturally, face and skin go beyond mere representation which is an assumption that has grown in me over the years. The same goes for painting in itself. The way I use paint has grown far more experimental, chance-taking and playful since the second year. My development in presenting is also visible, although still not as playful as I am striving for. Therefore, the presentation is what should be considered a crucial element in the final semester.

In my final presentation, I am going to work on large, soft paintings - or painted surfaces. By reincorporating a technique on painting skin which I accidentally discovered at the end of the third year, I want to use duvet sheets as my canvases. I am not yet entirely sure to what extent I want to be representative with these paintings which is a choice I will probably decide upon while in the making. I am, for instance, doubting if abandoning the figurative aspect entirely is needed for this exhibition. The space I will exhibit in should be large but not too large. I simultaneously intend to make the ceiling much lower, around 200cm or a little bit less than 200cm which will correspond with the size of a standard single person duvet sheet (140x200cm). I intend to not make the exhibition in a separate room but rather in connection with a larger room because the artificial ceiling hight will appear more significant. I will, plausibly, have coloured walls, floors, and ceilings but this colour is not determined although I am considering a shade of blue. I am, however, still to determine whether the duvet sheet is the right format for my work as I do not intend to make my work about duvets and I don’t want the viewers to get that impression. I might succeed to denote the canvas’ original purpose as a duvet but if not, I will work my idea out differently.

My idea for the end exam exhibition is in correspondence with my previous works, both in terms of technique and materials but also with regards to the subject matter. As previously mentioned, I will use a technique for my canvas which I discovered last year. I am, simultaneously continuing the use of canvas as an important, perhaps more important, partaker in my work. I am still interested in the illusion/embodiment divide that sometimes tends to be present in my work and I intend to also playfully incorporate that in unexpected ways for my final exam. What will be most different from my previous work is how I am going to present the work. With the exception of a little group exhibition I did last year in the spring (pink room), I have not yet made an exhibition in which I alter the room’s architecture for the purpose of the work and I think my intentions to alter the architecture could bring a new aspect to my painterly process. I have made soft paintings before in terms of paintings that are foldable and moldable but I format of a duvet sheet gives the work the potential to become three dimensional and the combination of their dimensional work and a soft work is something that I have not yet explored.

Draft of the plan:

- Before the coming week, I will buy a number of duvet sheets (4-5 pcs) - perhaps I will make sketches and tryouts on the pillow sheets that are included in the purchases.
- When I have finished one or two of them, I will make some try-out presentation for me to see in what ways the works can be exhibited - their softness makes them very flexible and, therefore, very playful to exhibit. This will take place during the spring.
- During buildup: For the construction of my room, I intend to hire help since a couple of people are needed to build the low ceiling.

My thesis examines the possibility of posthuman portraiture and given that the works I am making for the final exam can be regarded as posthuman portraits, there may be a direct connection. Indeed, the work I will possibly be making aims to capture the embodiment of skin which, therefore, do not require recognition of any certain individual in the work to be defined. As I argue in my thesis, a posthuman portrait do not necessarily denote the depiction of a face because the concept of the face can be regarded more relational when we dismiss the concept of the face as merely representational and rather focus on its effect on the viewer. I am not sure if literal faces will be present in my final exam but the aim of the exhibition is certainly to produce some sort of posthuman self-portraits - portraits that embody me but also everything else.