I am interested in what escapes me, not in order to arrest it, but on the contrary, in order to experiment with the 'ungraspable.
– Ann Veronica Janssens
Ann Veronica Janssens was born in the United Kingdom in 1956 and now lives in Brussels, Belgium. The artist is fascinated by the quest for perceptual experience, developing experimental works using a variety of scientific media such as glass, light, projection, sound, liquids and artificial fog.
This exhibition features some of Ann Veronica Janssens' renowned works in the coloured mist, glass and gilded blinds series. The artist used mist as a medium in 1997 by infusing large white spaces with a dense white haze that altered the sense of space, blurring angles and making floors, walls and ceilings indistinguishable. Ann Veronica Janssens described, 'Gazing at mist is an experience with contrasting effects. It appears to abolish all obstacles, materiality, the resistances specific to a given context, and at the same time, it seems to impart a materiality and tactility to light.' She presents light and colour in a tangible way, with colour in the form of suspended particles penetrating into the mist. Her piece on display in this show entitled Green, Yellow and Pink is a 2017 creation that invites the viewer to get lost in a fog of green, yellow and pink, where the boundaries of perception are blurred, drawing attention to the senses, finding the way forward, exploring the changes in light and colour, and challenging the viewer to have a different experience.
The two glass pieces on show, Bright Pink & Yellow and CL9BK, are from her 'Gaufrettes' series, the texture of the glass surface and the shades of colour change gradually when viewed from different angles, altering the visual perception. Small nuances of light are also part of Ann Veronica Janssens' subtle approach. She constructs a personalised experience of the work, while reshaping the audience's sense of participation through physical movement.
The Winsing Arts Foundation showcases the pieces of three female artists this year. The first artist, Miriam Cahn, looks into the relationship between the human body and the world in the form of painting, while the second, Suki Seokyeong Kang, breaks away from the established pattern of painting and transforms the body's gesture into an installation, intervening in space to achieve a state of balance. This exhibition features an immersive installation that allows the viewer to step into the work, opening the body and mind to perception, and soaking in the light and color. The ever-changing process of viewing is one of the highlights of the show, with each viewer finding their own unique experience at different points in time and from different perspectives.
In this year's program, the foundation expects visitors to notice the themes that women artists are concerned with, the diversity of specific media and the subtlety of visual presentation, looking at the world differently from a female perspective.
Ann Veronica Janssens' pieces have been exhibited at the prestigious museums such as the Musée de l'Orangerie, Paris; South London Gallery; Centre Pompidou Metz; Nasher Sculpture Center, US; Louisiana Museum of Modern Art; Kunsthalle Bern, Switzerland; Neue Nationalgalerie, Berlin; and De Pont Museum in the Netherlands as well as in the Manifesta Biennial in St. Petersburg; the Biennale of Sydney, the Istanbul Biennial and the Sao Paulo Art Biennial. She represented Belgium at the 48th Venice Biennale in 1999 and her works of art have been acquired by several internationally renowned institutions.
Press release courtesy Winsing Art Place.
Feedback and reaction from four collectors about the artwork of Ann Veronica Janssens. Thank you to Mr. Chen Rong-Chuan of the RC Culture and Arts Foundation, Leslie Sun of VOGUE APAC Editorial Director, and TAO ART's Vicky Chen. It was their kind loan of their own collections that completed and embellished this exhibition. – Jenny Yeh...View More Related Press Feedback and reaction from four collectors about the artworks of Ann Veronica Janssens 7 March 2022, ART PRESS Editorial