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December 19, 2012


Filed under: john korner — Tags: — jherzlinger @ 8:07 am

Another artist that I havwe recently been introduced to, has a lot of vision in his work and a lot of emotions.  I really enjoyed learning about him and his work!  Have a wonderful day!

Love, Jamie

“PROBLEMS ARE COMPARATIVELY easy to deal with.” This statement welcomes the reader of John Kørner’s 2004 artist book A Modern Problem. But don’t the unresolvedproblems of these modern times really scare us to death? Who doesn’t prefer a world without problems and in fact goes out of their way to avoid a problem?

The artist takes over the role of the presenter of ‘self-inflicted’ problems, reflecting society as “a series of fragmented situations, with every little element, physical or non-physical, seen as an isolated problem.” This is the chance to take nothing for granted

— and take on the initiative, since “a considerable amount of creativity and energy are

Produced by the process of solving these problems… so the creation of problems…

Should be like petrol for new challenges.”


Reuniting the concept of direct, informally articulated imagery with the return of the

Painter-philosopher, Kørner’s work turns the abstract plane of the canvas into a colored

Minefield of possibilities, reflecting reality more than attempting to represent it. Every

Color, every figure and every paint stroke, every dot and mark has a name, a particular relevance akin to a word, a sentence or a semicolon in a text. Yet with the

difference that it allows for more complex means of representation and interpretation, while maintaining a simplicity: painting is a problem. This makes it

tricky to describe the work of Kørner. His canvases, with their watered-down acrylics, are straightforward, figurative and recognizable for their intense, clear

colors that at first glance exude emotions between childlike happiness, happy-go-lucky playfulness, zany optimism bordering on the esoteric, if not outright

neurotic. His handling of paint is confident, gutsy, yet varied, controlled, with no fear of simplicity or complex situations. And a whole box of tricks and schemes, that on closer inspection gives the artist the access to a whole new concept of painting and to examine its genuine possibilities against a clearly contemporary background — with a multitude of historical, formalist and painterly references

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