Britta Jager

Britta Jager

Location: Germany

Britta Jager formulated a language with her artistic work that wants to terrorize the brain:
'Art is a Parasite' ---- 'art terrorist', where the art viewer is the 'host'.
In interior design studies Britta Jager developed a model of the mobile space: 'Interactive Space' to
address multicultural factors in our society.
In studies at the Art Academy Dusseldorf were post-feminist theories and autobiographical experience
the central point of her work. In Focus were gender comparison, data interactions, and biochemical processes. Britta's work visualized process operations and formulate a poetic view of life. To ensure transparency of the work, it draws attention to the banal and makes invisible visible.
Inspired by the Goldsmiths University's debates she developed an installation in which robotic objects are moving back and forth on a floor graffiti. To democratize the viewing process Britta includes 3 sensory perception factors in her installations , thus making the work accessible to all. With monotone
circular movements and the associated noise Britta shows us how the human mutates into robots: our
robotic existence in a time-space structure, mirrored the everyday of numbness and thoughtless behavior.
Fascinates by the glamor London’s Britta Jager is working on a large project, which was inspired by Baroque wall paintings and sacred ceiling paintings. There is a space filling installation that currently consists of nearly 100 individual paintings and constantly grows into a contemporary fresco.
From miniature, medium-sized and large wall paintings existing wall installation also questioned why the people awareness transforms in lifeless dolls. Britta Jager shows how our body merge with plastic and illustrates how our 'sooooo perfect' world is a venue for explosives. Terms such asmisidentification, disorders, manipulations and identity losses determine her work. The current 10-
meter long mural will be extended in future endlessly and can be assembled individually in each exhibition. She created a new notion of paintings: Statistics as determined factor. In an almost paradisiacal landscape, accompanied by birds of paradise, exotic flowers, flamingos and perfect looking women, the viewer finds a collection of bombs, guns, guns, grenades and monkeys dominating the scene. The name paranoia underlines what us Barbie dolls generation. Dominated by post-Barbie traumas we strive for perfection. We hardly notice that we mutate. Paranoia materializes the terror which rules us. With that work the mutation bluntly and directly into the eye.


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