© Images Roman März
16 MAY – 14 JUNE 2020
Generic types stripped of any idiosyncratic qualities, with rubbery bodies and distorted faces, the humans in Maier’s paintings appear on a level with her uniformly depicted woodland creatures. Only when objectively equalised in this way are they revealed as the unwelcome intruder. The lightness and colour of her paintings transmute into brutal representations of a hidden romanticism and love of nature — a notion alluded to in the series Verklärung I-III (Glorification I-III), where a nature is depicted that, rather than being a place of healing and refuge for humans, illustrates the misguidedness of their yearnings.
In Conny Maier’s paintings, the most rampant plant growth becomes a landscape of monoculture; the natural wilderness becomes a carefully cultivated garden — because the only way humans can realise their natural vision of nature and the world is by displacing their actual landscapes. In the paintings of Conny Maier, this fact becomes a utopian dislocation and dystopian game. Her scenes concentrate on the grey area between human constructs and ways of seeing on the one hand, and the underlying truth on the other — a further reason for her decision to create all of the paintings and graphic works for Domestic out in the open air.