Soltau skizze

Annegret Soltau in her studio 2011 (statements in german)
please click here: Panotrait by Axel Deus

Statements by Annegret Soltau:


I think that this restlessness which is a necessary part of all artistic processes, this endless searching and restlessness – this is what drives me on and makes me feel alive

To me relying on one permanent identity makes no sense. It makes no sense if you are always supposed to be ‘the self,’ the one and only ‘self’.

As if a spider web, I sewn my own self-portrait. The grey silk thread is a kind of mask, the face overlaid with a delicate tension. I take contours and lines on my face and I support them, some put the new strings caesura.

For me line is a drawing. Out of the drawn line I developed the haptic line. I wanted that drawings could be experienced with the body. I consider line also as a metaphor for a trace (of life), something that remains.

I knew that what I wanted to do had to be done right then. I experienced my pregnancies as a return to my body. (1980)

When I tear out the face of my own portrait, it is not the aspect of destruction which interests me, but I want to find new meanings and significant connections. (1986)

The thread also represents a factor that connects and repairs, that brings the torn parts together and holds them there. The ‘tears’ in one’s own biography remain as visible as wrinkles, as marks of life. (1995)

As a kind of recycling, I reused the leftover parts. I wanted to take it all so far that it was only visible in an immaterial way and viewers ask themselves: What is left? (2002)

Events in my own life are one source of inspiration for my work. But art always has its own life – it is a production of the mind and the spirit. You have to have an idea, and then give it a shape. (2003)

For me it is important to gain more authenticity and directness through self-representation, but it is even more important, that I can go farthest with myself.

With “permanent demonstration” I want to produce states of consciousness through the touching of realized lines in space, and on the body and skin. “Permanent demonstration” took place in public performed along with myself or several persons every day during one week. It was an attempt to provoke states of consciousness by realizing a picture in real life, i.e. to make a picture bodily. The line, the stroke become part of the image—in this work the line and human being are no longer two different things, but one reality.
The demonstration did not intend to be useful, nor to be only an aesthetic pleasure; above all it its purpose was to connect consciousness with the unconscious. I wanted to work intuitively, i.e. with a directly perceivable experience. I wanted to achieve a “forgetting of one’s self”, because as soon as we start reflecting and forming an idea, we loose the original; we constrict ourselves with our firm thoughts and concepts. With this demonstration I tried to develop a consciousness that wouldn’t disappear from our everyday lives, but that might blossom through the experience.
(Annegret Soltau 1975)