Aubrun Schect (°1993, Copenhagen, Denmark) is an artist who works in a variety of media. By rejecting an objective truth and global cultural narratives, Schect creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
His artworks are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By applying abstraction, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of art: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By choosing mainly formal solutions, he creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them.
His works are a drawn reflection upon the art of art itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. With a subtle minimalistic approach, he makes work that generates diverse meanings. Associations and meanings collide. Space becomes time and language becomes image.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning. By studying sign processes, signification and communication, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His work urge us to renegotiate art as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By emphasising aesthetics, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
His works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations and ideas normally function. Aubrun Schect currently lives and works in Minsk.
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