|12 to 25 June 2020, 6pm CET|
|No 1 - 124|
The face is one of the most important visual reference points of human beings. Research has shown that even fetuses in the womb are already interested in face-like shapes, while they ignore other patterns.
We can recognize primarily from the facial expressions of our counterpart how he or she stands towards us, which can become life-dependent in a severe situations. No wonder that we automatically scan everything we see for faces, resulting in photos in which cars seem to smile or houses open their eyes in outrage. This phenomenon known as "pareidolia" has become famous at the latest in the Twitter account "Faces in Things".
In art too of course, the face is utmost importance. From the earliest depictions of saints to the portraits of the nobility which – sometimes idealized, sometimes realistically – express wisdom, virtue or even suffering, the face has been a means to communicate with the viewer. The latter should accordingly feel awe or pity and understand what significance the depicted personality had.
The SØR Rusche Collection offers a variety of different artistic interpretations of the face.
In his monochrome untitled work from 2009, Fabian Fobbe uses a kind of dot-dot-comma-dash aesthetic. With precisely painted simple patterns, he creates a happy personality that may seem a little bit crazy and immediately infects you with its good mood.
You also get a good mood when watching the work "Cotton Candy" by Joanna Jesse. Where Fobbe shines through minimalism, Jesse dedicates herself to the very individual moment of a little girl eating cotton candy. Her eyes are focused on the sticky, intricate candy, lips and tongue taste the last bite and prepare the next one. The girl is completely immersed in the delight of cotton candy, while the interplay of sunlight and wind-blown hair draws an array of colours on her face.
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