https://ullaneureiter.com Ulla Neureiter Wed, 13 Nov 2024 00:34:02 +0000 https://ullaneureiter.com en https://ullaneureiter.com/Featured-Work-Unit-2-copy Sat, 09 Nov 2024 14:18:17 +0000 Ulla Neureiter https://ullaneureiter.com/Featured-Work-Unit-2-copy <img width="1351" height="1354" width_o="1351" height_o="1354" data-src="https://freight.cargo.site/t/original/i/b07eb8a38ba8d43a3b65fd1e70fbd070453f3520767ef81f743eae0f82c45f98/_A725101kjn.png" data-mid="221587707" border="0" src="https://freight.cargo.site/w/1000/i/b07eb8a38ba8d43a3b65fd1e70fbd070453f3520767ef81f743eae0f82c45f98/_A725101kjn.png" /> <img width="3031" height="1799" width_o="3031" height_o="1799" data-src="https://freight.cargo.site/t/original/i/ab2bff5febdbd95a24b5d928bf32b6b7dd5f8e46802907051992545bd5a60e6a/wax-hand-asldkjflkjdf.png" data-mid="221667115" border="0" src="https://freight.cargo.site/w/1000/i/ab2bff5febdbd95a24b5d928bf32b6b7dd5f8e46802907051992545bd5a60e6a/wax-hand-asldkjflkjdf.png" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/f1aeb4d6280b95254c6b95ab4ab88eea8bc1670a5568478fffcc0c67f9bc8f71/IMG_8867.jpeg" data-mid="221667239" border="0" src="https://freight.cargo.site/w/1000/i/f1aeb4d6280b95254c6b95ab4ab88eea8bc1670a5568478fffcc0c67f9bc8f71/IMG_8867.jpeg" /> <img width="1256" height="1244" width_o="1256" height_o="1244" data-src="https://freight.cargo.site/t/original/i/21fc4e08c673250a80e41ed1f3ea1ead920c71433a31b2071720992683a0750b/Layer-1.png" data-mid="221480844" border="0" src="https://freight.cargo.site/w/1000/i/21fc4e08c673250a80e41ed1f3ea1ead920c71433a31b2071720992683a0750b/Layer-1.png" /> <img width="2640" height="1760" width_o="2640" height_o="1760" data-src="https://freight.cargo.site/t/original/i/a79416b60427a26ee0a4ef46b16431b20a9b7c544ae45b9e96e2b132cbf3674e/DETAILII_Erlkonig-I--2024--Lithograph-on-Somerset-Satin--57x76cm.png" data-mid="221480845" border="0" src="https://freight.cargo.site/w/1000/i/a79416b60427a26ee0a4ef46b16431b20a9b7c544ae45b9e96e2b132cbf3674e/DETAILII_Erlkonig-I--2024--Lithograph-on-Somerset-Satin--57x76cm.png" /> <img width="4677" height="3307" width_o="4677" height_o="3307" data-src="https://freight.cargo.site/t/original/i/5bb6087213e87fe8962b200e79719a672bdb971991829319ed69228fcad8143d/scan_22005877_2024-11-06-13-35-16_1.jpeg" data-mid="221667112" border="0" src="https://freight.cargo.site/w/1000/i/5bb6087213e87fe8962b200e79719a672bdb971991829319ed69228fcad8143d/scan_22005877_2024-11-06-13-35-16_1.jpeg" /> <img width="1162" height="2391" width_o="1162" height_o="2391" data-src="https://freight.cargo.site/t/original/i/2fd934fe87edf6fc66fc0871d80709a7d73edff13c72c5d15d6c8f2c25910b69/IMG_9001.png" data-mid="221667530" border="0" src="https://freight.cargo.site/w/1000/i/2fd934fe87edf6fc66fc0871d80709a7d73edff13c72c5d15d6c8f2c25910b69/IMG_9001.png" /> <img width="2246" height="3144" width_o="2246" height_o="3144" data-src="https://freight.cargo.site/t/original/i/d6163dace8bd3fdaa2d73939462e1d4c8ecbac8eac63a23addc340538cdc58d4/IMG_0887.jpeg" data-mid="221480841" border="0" src="https://freight.cargo.site/w/1000/i/d6163dace8bd3fdaa2d73939462e1d4c8ecbac8eac63a23addc340538cdc58d4/IMG_0887.jpeg" /> <img width="4489" height="14765" width_o="4489" height_o="14765" data-src="https://freight.cargo.site/t/original/i/58ffb1250a1585ff61c49b7a750f5cf5c563855257d1c8f6a7f0171d49b4507d/death-of-death-01.png" data-mid="221667244" border="0" src="https://freight.cargo.site/w/1000/i/58ffb1250a1585ff61c49b7a750f5cf5c563855257d1c8f6a7f0171d49b4507d/death-of-death-01.png" /> ✶ https://ullaneureiter.com/submenu-top Tue, 12 Nov 2024 18:05:20 +0000 Ulla Neureiter https://ullaneureiter.com/submenu-top https://ullaneureiter.com/ARTIST-STATEMENT Sat, 09 Nov 2024 14:18:23 +0000 Ulla Neureiter https://ullaneureiter.com/ARTIST-STATEMENT Artist Statement ✶ The core of my work explores the deep relationship between the human body and its unique expression and observation of emotions. Importance is laid on the reconnection to our emotionality and intuition, one’s inner physical sensations that express the response to outer circumstances, as well as manifestations of trauma and unconscious information.Working increasingly with painful emotions and memories, I enforce a healing process by scratching deeply underneath the surface to finally open up to absolute vulnerability, leading my path back to the exploration of grief and death and the origins and development of shame. ✶Finding purity in the nude body, I enhance the emotional vulnerability by embracing the comfort of my own skin and promoting its innocence against all social stigmas, to push further into the acceptance of living in our own bodies and shift the lines of its judgemental perception. The research process of finding truth in experience rather than intellectualisation is becoming a meditative self-practice intertwined with performative elements, which is testing my body’s limits and building mental resilience. ✶Printmaking as a medium allows me to utilise its slowness to transfer my energy into something physical. I use my body as a tool and not just a reference, to incorporate its touch and movement, as well as the practice of incorporating hand writing, as an important part alongside the visual outcome of the artwork. I am letting the medium come alive and subsequently decay, by scratching into it, into a deeper surface to unfold its vulnerability, alongside mine. → CV→ https://ullaneureiter.com/submenbottom-copy-copy-copy Wed, 13 Nov 2024 00:32:59 +0000 Ulla Neureiter https://ullaneureiter.com/submenbottom-copy-copy-copy https://ullaneureiter.com/submenu-top-copy Wed, 13 Nov 2024 00:17:53 +0000 Ulla Neureiter https://ullaneureiter.com/submenu-top-copy https://ullaneureiter.com/CV Tue, 12 Nov 2024 18:14:23 +0000 Ulla Neureiter https://ullaneureiter.com/CV CV ✶ Education&nbsp; September 2023 - December 2024 Camberwell College of Art MA Fine Art: Printmaking London, UK September 2019 - June 2022L’Institut Supérieur des Arts AppliquésBA Graphic Design Paris, France ✶ Exhibitions January 2026 OUT Unit 2 Gallery St. Leonards On Sea, UK November 2025 Festival Of Print Mile End Art Pavilion London, UK September 2025 LOOP 2025 – Artist in Print Bankside Gallery London, UK May 2025 ‘POSTULATION’ LumiNoir Art Gallery London, UK March 2025‘Two Sides of the Same Coin’Lewisham Art HouseLondon, UK December 2024‘Unresolve’Research Festival 2025South London GalleryLondon, UK November 2024Woolwich Contemporary PrintfairWoolwich WorksLondon, UK September 2024LOOP 2024 – Artist in PrintBankside GalleryLondon, UK July 2024MA Fine Art Graduate ShowCamberwell College of ArtsLondon, UK June 2024‚Have You Seen My Shoes?‘ – Thimble CollectiveOff The CuffLondon, UK May 2024‘Where We’re Calling From’MA Fine Art Group ExhibitionCopeland GalleryLondon, UK April – May 2024‘Are We There Yet?’Group ExhibitionCamden Open Air GalleryLondon, UK March 2024Group ExhibitionStudio 18 - Millbank TowerLondon, UK February 2024 ‚Leave A Trace‘ - Thimble Collective Open Gallery London, UK &nbsp; ✶ Awards LOOP Printmaking Prize 2024 East London Printmakers Graduate Marketing Award 2024 Haus Print Award 2024 → Artist Statement → https://ullaneureiter.com/submenbottom-copy-copy-copy-copy Wed, 13 Nov 2024 00:34:02 +0000 Ulla Neureiter https://ullaneureiter.com/submenbottom-copy-copy-copy-copy https://ullaneureiter.com/Body-of-Work-2 Sat, 09 Nov 2024 14:18:26 +0000 Ulla Neureiter https://ullaneureiter.com/Body-of-Work-2 <img width="2170" height="2932" width_o="2170" height_o="2932" data-src="https://freight.cargo.site/t/original/i/175d14cddf6a18153d59e71ef44a3500f0e4d465e27ad1fbf2708bd4c35991b7/_A725101.png" data-mid="221666217" border="0" src="https://freight.cargo.site/w/1000/i/175d14cddf6a18153d59e71ef44a3500f0e4d465e27ad1fbf2708bd4c35991b7/_A725101.png" /> ✶ <img width="3160" height="2405" width_o="3160" height_o="2405" data-src="https://freight.cargo.site/t/original/i/8ca9d912c5fd26ebd6d73bdfa06d7c78ae5b626905e45e2b3956065fe5e3f8a0/Erlkonig-II--2024--Lithograph-on-Somerset-Satin--57x76cm.png" data-mid="221480858" border="0" data-scale="82" src="https://freight.cargo.site/w/1000/i/8ca9d912c5fd26ebd6d73bdfa06d7c78ae5b626905e45e2b3956065fe5e3f8a0/Erlkonig-II--2024--Lithograph-on-Somerset-Satin--57x76cm.png" /> <img width="3180" height="2385" width_o="3180" height_o="2385" data-src="https://freight.cargo.site/t/original/i/5161686b56225c3a10d3fa57006cc69ca45949852a0fe96ecb2189cbcac5c5d6/Erlkonig-I--2024--Lithograph-on-Somerset-Satin--57x76cm.png" data-mid="221480857" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/5161686b56225c3a10d3fa57006cc69ca45949852a0fe96ecb2189cbcac5c5d6/Erlkonig-I--2024--Lithograph-on-Somerset-Satin--57x76cm.png" /> <img width="3195" height="2388" width_o="3195" height_o="2388" data-src="https://freight.cargo.site/t/original/i/66f2d3d84664e88bd23891a10927a2e2367fa1b3c4efa9d7aa40e17c3fb3e863/Erlkonig-III--2024--Lithograph-on-Somerset-Satin--57x76cm.png" data-mid="221480859" border="0" src="https://freight.cargo.site/w/1000/i/66f2d3d84664e88bd23891a10927a2e2367fa1b3c4efa9d7aa40e17c3fb3e863/Erlkonig-III--2024--Lithograph-on-Somerset-Satin--57x76cm.png" /> ✶ <img width="3227" height="2151" width_o="3227" height_o="2151" data-src="https://freight.cargo.site/t/original/i/48ef70dc3b0079828aa8e1a058d9b7eb3c9a4d25aba895b677764e478c1712b8/_A725160.png" data-mid="221666996" border="0" src="https://freight.cargo.site/w/1000/i/48ef70dc3b0079828aa8e1a058d9b7eb3c9a4d25aba895b677764e478c1712b8/_A725160.png" /> ✶ <img width="2372" height="1812" width_o="2372" height_o="1812" data-src="https://freight.cargo.site/t/original/i/13f8c361ccb3d2c05482633869c7a15e3f8f22da34fb7c4a65c6c8adf6af7620/Everything-I-ve-Ever-Been-lowand-more.png" data-mid="221667018" border="0" src="https://freight.cargo.site/w/1000/i/13f8c361ccb3d2c05482633869c7a15e3f8f22da34fb7c4a65c6c8adf6af7620/Everything-I-ve-Ever-Been-lowand-more.png" /> ✶ <img width="4697" height="7046" width_o="4697" height_o="7046" data-src="https://freight.cargo.site/t/original/i/b10e068190db900d9cd92c7ccf6a4f3f05ff87b2378bdfa18d481d98ad5fb99a/-Thresholds---2024--live-performance-still-image-II.jpg" data-mid="226527468" border="0" src="https://freight.cargo.site/w/1000/i/b10e068190db900d9cd92c7ccf6a4f3f05ff87b2378bdfa18d481d98ad5fb99a/-Thresholds---2024--live-performance-still-image-II.jpg" /> https://ullaneureiter.com/submenu-top-copy-copy Sat, 09 Nov 2024 14:22:02 +0000 Ulla Neureiter https://ullaneureiter.com/submenu-top-copy-copy ↓ Critical reflection ↓ → Notes → https://ullaneureiter.com/To-conquer-shame Sat, 09 Nov 2024 14:22:02 +0000 Ulla Neureiter https://ullaneureiter.com/To-conquer-shame To conquer shame <img width="2200" height="3300" width_o="2200" height_o="3300" data-src="https://freight.cargo.site/t/original/i/5c766e1d009a9cbba627b9fc2affb8b724573d151cf2b351831e343bd121748c/_A725103.png" data-mid="221643652" border="0" alt="To Build A Home III (DETAIL)" data-caption="To Build A Home III (DETAIL)" src="https://freight.cargo.site/w/1000/i/5c766e1d009a9cbba627b9fc2affb8b724573d151cf2b351831e343bd121748c/_A725103.png" /> <img width="2046" height="1288" width_o="2046" height_o="1288" data-src="https://freight.cargo.site/t/original/i/094e25fa402081457d2d681a92b859031ddaac3dbc7cce7cca5958b883f287f8/Screenshot-2024-11-12-at-17.33.34.png" data-mid="221644062" border="0" alt="Helen Chadwick, The Oval Court (DETAIL), 1986" data-caption="Helen Chadwick, The Oval Court (DETAIL), 1986" src="https://freight.cargo.site/w/1000/i/094e25fa402081457d2d681a92b859031ddaac3dbc7cce7cca5958b883f287f8/Screenshot-2024-11-12-at-17.33.34.png" /> More and more often I experience moments these days where I feel such gratitude and happiness, almost a sense of future nostalgia, wanting to break into laughter and crying all at once. I then immediately stop myself from feeling this burst of emotions, as if this was the most shameful action on this earth and I had to protect my ‘honour’ at all costs. The shame I feel evolved through everything selfish I’ve ever done and especially the moments I have authentically been myself and was caught in the (unintentional) rebellion against what I am supposed to be. Working with the expression of emotions in my art, where I want to challenge myself and my surroundings to break free from the suppression of disconnection to ourselves and work towards complete vulnerability, I am directing my research towards the question where this need to be untouchable comes from. Experiencing pain and trauma in our lifetime causes our brain to protect us from experiencing that again, but if pain was not being pushed away and healing the wound by feeling through it would actually be accepted, the power of it affecting us in the long term would be minimised. Problematic in this wishful scenario is the shame that is created around vulnerability, around emotional expression, about connection, as these qualities do not add up to the perfect image of a social normative individual. Responding to Gabriele Taylors (1985, quoted in Collins, 2018, p. 19) words that ‘shame requires an audience’ which effectively ‘constitutes an honour group’, Sophie Collins summarises the concept of this emotion as follows. ‘Shame is thus broadly conceived of as deriving from a perceived discrepancy between a projected standard of how we believe we ought to be - how we could have been - and how we see ourselves as being in actuality. Shame might therefore be conceived of as an act of imagination - an affective state that requires the use of our imaginative capacities in the first instance in order for us to generate an idealised self-image.’ (Collins, S. 2018, p.19) Exactly this creation of an idealised self-image that is built from the day we were born by our surroundings is affecting our truest self-expression and realisation, as we not only feel judged by others but more importantly ourselves, as we to some part still believe this image of how we should be behaving. The shame is therefore still existing when exploring vulnerability, nudity, sexuality, trauma and pain, grief, and everything not talked about (openly enough). Tracey Emin, who I feel particularly connected to in my research, explores the above mentioned topics deeply and aggressively, having no fear of being disagreeable. Annette Kuhn said that, ‘Though perhaps for those of us who have learnt silence through shame, the hardest thing of all is to find a voice.’ (Kuhn, A. quoted in Merck, M. et al., 2002, p.29), Emin very successfully takes back her voice through her work, by directly addressing her sexuality, traumatising childhood, being abused, failed relationships, and putting it out in the open. In her work, Everyone I Have Ever Slept With 1963-1995 (1995, cited in Merck, M. et al., 2002, p.32), she conquers the expectation of presentation of her sexual encounters (as the title might suggest) with the intimacy and vulnerability of sleep, by naming every person she has ever slept next to, not only including lovers, but friends, family members, and even her two foetuses that were aborted during pregnancy. The installation, which took the shape of a tent, invited visitors to connect to the usually publicly unmentioned intimacy on a collectively personal and almost comforting level. In my own art, I explore intimacy through the visual use of my own nude body, as it represents the most vulnerable parts of my physical being, that shape the vessel and map to my emotions, which is also very much aligning with Helen Chadwick’s art. She was breaking boundaries within her expression of consciousness, the enigma of selfhood and vulnerability of sexuality and emotionality from the beginning stages of her career on, diving deeper into these areas within her exhibition ‘Of Mutability’, showing 1986 at the Institute of Contemporary Arts in London (1986). Within this exhibition installation, particularly ‘The Oval Court’ stands out to challenge the line between life and death and tackles conventions of female nudity and objectification, where she assembled images of her own body in the middle of a paradise of animals and plants and declares her own femininity, in contrast to Eve in her original paradise, as shameless. I continue to ask myself the same question that Jade Monserrat discussed with writer Season Butler, which is ‘why this space of empowerment for women is still a sexual space that relies on body normative privilege’ (Butler, S. quoted by Monserrat J., 2024). Helen Chadwick was criticised a lot for presumably contributing to the objectification of women by performances of her naked body (Sladen, 2004), but she really used her body to provoke societies’ guidelines of nudity and sexuality. Jo Spencer, for example, was on the other side of judgement when she used her art to challenge people’s fear of illness, ageing, and the decay of the body. Even after generations of female artists reshaping the way for the revolution against oppression and sexualisation within our own righteous bodies, art that is accepted to become part of the movement usually passes the image of idealised female body standards, based on its time period. Acknowledging the thought that my own and my fellow contemporary artists’ art would be inconceivable without the influence of earlier generations of women artists and that historical circumstances may have changed less than we imagine (Merck, M. et al., 2002), I am deciding to use my body normative privilege to step by step normalise the freedom to show vulnerability within one’s own body and therefore one’s own mind, so the shame of not fulfilling an ideal can be shifted and eventually conquered. References: Taylor, G. (1985) Pride, Shame and Guilt. Oxford University Press Collins, S. (2017) Small White Monkeys: On Self-expression, Self-help and Shame. London: Book Works Merck, M. et al. (eds.) (2002) The Art of Tracey Emin. Thames &amp; Hudson Of Mutability: Helen Chadwick (1984-86) [Exhibition]. Institute of Contemporary Arts, London. May 28, 1986 – June 29, 1986. Montserrat, J. (2024) ‘Postgraduate Lecture Program: Jade Montserrat’ [Recorded Lecture]. Camberwell College of Art. 10 January. Available at: https://ual.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=772aa493-c4b3-4151-87a9-b0f9013e846d (Accessed: 10 October) Sladen, M. (ed.) (2004a) Helen Chadwick. London : Barbican Art Gallery ; Ostfildern-Ruit : Hatje Cantz Publishers