1. ENMESHED series is about human beings’ interwoven-ness with each other. Enmeshments lead to loss of autonomy.


  2. I draw first in the museum and later in the studio work on larger scale.
























































































































© Aude Hérail Jäger Nov 2016

No image may be used without written permission from Aude Hérail Jäger

ENMESHED

After Jacob Epstein’s JACOB AND THE ANGEL (Tate Britain)

2013

15cm x 12cm

pencil on paper

After Jacob Epstein’s ‘Jacob and the Angel’ (1940-41, Tate Britain) presents conflict, embodied in one wrestling embrace. The proposition is that violence leads to greater love, and defeat to expansion.

Jacob’s story started with his and his mother’s betrayal of the first-born Esau by treachery. Was it a kind of ancestral pattern that led Jacob’s sons to betray their brother Joseph and later the youngest sibling too? This possibility and Jacob’s earlier dream of a ladder (between earth and heaven) reflect ongoing preoccupation in my artwork, such as linear legacy and the concept of ascending-descending.

 
 
 

After BM ASIA 1950,1018.6 - Shiva and Parvatti (British Museum )

2012-13

40cm x 30cm

pencil on paper

BM ASIA 1950,1018.6 Here, amorous dalliance becomes entrapment in the embrace. This opens up the unclear territory of entanglement in relationships, circumstances or self-perpetuating patterns. Longing for empathy interferes with the vital necessity of autonomy.

After Rembrandt’s LAMENTATION OVER THE DEAD CHRIST (National Gallery, London)

2014-15

22cm x 31cm

etching and aquatint

The biblical Lamentation shows a moment of stillness when protagonists have become a mass of intertwined people in shared grief.

After Hugo van der Goes  BEWEINUNG  CHRISTI (KHM, Vienna)

2014-5

pencil on paper

29cm x 21cm

The interlocking is particularly powerful since it stems from complicity to scapegoat and kill one among them




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