Meeting in Invisibilities: Annina Roescheisen

We are meeting multimedia artist Annina Roescheisen in a place between dreams and other realms. Exploring the essence of each brushstroke born from simplicity, we delve into the innovative techniques of art as they lead us to an internal and external state, leaving everything behind. Art is constantly renewed; it brings forth new realms by nurturing the old within. Join us in experiencing Annina Roescheisen’s works that transcend the ordinary and accompany her in conversation.

How would you describe the evolution of your artistic style over the years? 

Annina Roescheisen: Transformative. Over the years, the evolution of my artistic style has been marked by a refinement and a deeper mastery of technique. As one becomes more adept in the craft, the focus naturally shifts away from mere technicality, allowing for further experimentation and the exploration of new dimensions. For me, art is a journey of continuous growth and exploration, always seeking to push the boundaries and unearth innovative techniques that can delve deeper into the essence of my practice. 

Engaged in an ongoing transformative creative exploration, it entails embarking on a quest to distill complexity into simplicity, revealing a core message, a fundamental frequency, and style within multifaceted ideas; peeling away layers until reaching the very essence. I firmly believe that this evolutionary path embodies not only an artist’s growth but also the growth of every human: an unyielding pursuit of authenticity and an unwavering commitment to self-exploration, harnessing our inner power and capacities. We all exist in a perpetual state of self-transformation, which inherently influences our practices and the creative forms that emerge from within.

Which of your artworks do you consider the most personally transformative, and why? 

Annina Roescheisen: The artwork that stands as the most personally transformative to me is the series of drawings (since 2016) that delves into the realms of the visible and invisible. It has always been essential to me to not merely theorize and instead to genuinely experience and grasp the essence of a concept. In pursuit of understanding the true meaning and depth of the invisible beyond its theoretical and philosophical implications, I went on a profound personal exploration: an experiment about the invisible realm, that involved drawing with my eyes closed for several months, immersing myself in a process where the act of letting go of any attachment to outcomes or aesthetics, relying on trust in the unseen, birthed a novel visual language. Our hands, and consequently, our creations, are the extensions of our inner emotional and vibratory state, translated onto canvas. 

“Our hands, and consequently, our creations, are the extensions of our inner emotional and vibratory state, translated onto canvas.”

-Annina Roescheisen

Thus, every artistic journey, including this one, extends beyond the realm of mere work. As an artist, I perceive painting as an intrinsic act of creation, where we manifest our inner visions in various visual forms for the outside world to witness. Throughout this journey of drawing with my eyes closed, both artistically and humanly speaking, my sensitivity and intuition were sharpened and a new style emerged. I could perceive shapes and elements without relying solely on my sight, existing in a state that lies I would say between the realms of dreams and reality.

Despite being unable to physically perceive the papers boundaries or the traces left by my hand, I cultivated an intuitive awareness of their presence, enabling me to discern and express my inner state independent of sight alone. This encounter significantly deepened my understanding of the intangible aspects, unraveling their complexities and bringing them to life through a novel artistic language. This experience marked a turning point in my journey, instilling greater patience and trust both within my artistic practice and myself. Initially, I grappled with letting go of my inner attachment to achieving aesthetically pleasing results, leading me to discard numerous drawings. However from the moment on, that I embraced this experiment as a playful game, the process of relinquishing control unveiled a true transformative power both inwards as well as visually on paper.

When you’re creating, how do you manage the balance between intention and spontaneity?

Annina Roescheisen: I value both intention and spontaneity in my creative process. Sometimes, I start with an internal intention, but I never sketch any painting or drawing before its conception. This approach allows for spontaneous gestures and impulses, as I believe that in these moments of non-conceptualization, true freedom is found, leading to imperfections that give an authentic spark to the artistic creation of art.

Are there any recurring themes or motifs in your work? If so, could you talk about their significance? 

Annina Roescheisen: The exploration of human emotions, the interplay of light and shadow, the duality of life and death are motifs that consistently appear in my art. Furthermore, I am drawn to the realms between dream and reality, the invisible worlds. These recurring themes allow me to delve into the intricacies of the human condition and create profound visual narratives. The human eye can perceive only a small fraction, approximately 10%, of the electromagnetic spectrum, limiting our direct experience of reality. This limitation has sparked my fascination with exploring the unseen aspects of existence. Through my work, I delve into the invisible realms, experimenting with various forms that transcend the boundaries of conventional vision. Themes like frequencies, quantum physics, multiple dimensions, and parallel lifetimes intrigue me as I strive to uncover hidden truths beyond what meets the eye. Their significance lies in the transformation of the intangible into the visible, the untouchable into the tangible, the inaudible into the audible, and the rational into the ethereal. My creative process revolves around creating a visual vocabulary that renders the invisible visible, inviting viewers to explore the mysteries of unseen worlds.

What role does ‘space’ play in your artwork – be it physical, psychological, or conceptual?  

Annina Roescheisen: I aim to connect space (inner and outer) multidimensional. The concept of space in my work is multidimensional: space in the notion of room, gap, distance, expanse, place and zone and space is resonating with vibratory and quantum physics principles. It encompasses both the evident physical space and the realm of frequencies and magnetic fields, connecting inner and outer dimensions, inner and outer spaces. This state forges a profound connection between the magnetic resonance within me and the external environment, transforming the canvas into a sort of portal for depth and expansiveness, allowing the artwork to seamlessly merge with its surroundings. Whether through the thought of white space in my Dragon series for example or the dynamic hues of the Vibrational Strings series, both approaches embrace the notion of quantum magnetic fields, inviting the artwork to resonate energetically within the viewer’s space or its environment, unrestricted by conventional framing constraints.

Color and space hold paramount significance in this concept, as they evoke diverse and impactful psychological responses in viewers, creating distinct emotional states and inner experiences. Drawing from the teachings on color of Goethe, Wittgenstein, and Schopenhauer, I explore the emotional impact of color through subjective experimentation following Goethe’s practice. The inherited emotional duality of color becomes evident as it varies based on each individual’s magnetic frequency and symbolism, shaping a unique experience for every observer. This moment of co-creation, where viewers become co-creators of their personal magnetic fields, is akin to a half note in a musical symphony: it holds space — an unnoticed yet profound aspect of art’s freedom in space, shared between artist and audience.

In the realm of concept and conceptualization, space plays a profound role in my artwork. I define “concept” as a rational framework, a structure, setting the groundwork for my creative vision. However, it is in the second step of conceptualization where space becomes crucial. Here, the initial concept opens up, allowing room (space) for imagination and creation to express, breaking free from theoretical and rational boundaries. Space becomes the canvas upon which my ideas take shape, inviting viewers to explore the vast possibilities beyond the confines of the original concept giving them new ways of perspective and understanding rigid concepts through a new lens. There is a tangible aspect to space that goes beyond its visual representation: it takes on a psychological dimension, asking the artist and viewer for moments of introspection and contemplation, for a moment of feeling and listening within. 

By navigating the interplay between psychological and conceptual realms, I invite the viewer to delve into the intricate tapestry of their own human consciousness, exploring the unseen dimensions, their inner spaces of their emotions and thoughts. It’s like to be taken on a transformative journey through different layers of your own consciousness. By delving into these hidden aspects and inner spaces, I aim to forge a deep connection with the viewers, going beyond the ordinary and revealing the mysteries of existence.

“In embracing simplicity, I aim to reach an inner and outer state where every stroke embodies essence and total presence, leaving no room for hesitation or doubt.”

-Annina Roescheisen

How would you describe the relationship between form and content in your work? 

Annina Roescheisen: The relationship between form and content in my work is intricately interwoven: form serves as the vessel through which content finds its manifestation. It’s a dance of resonance, inviting the viewer to collaborate with the artpiece, to co-create, to delve deeper into the layers of meaning and symbolism entwined within the creation. I see form and content as a symbiotic relationship where form elevates content to new dimensions, where form allows emotions to take tangible shapes. The fusion of form and content serves as a vessel for storytelling, enabling me to share reflections on existentialism, philosophical concepts, and personal experiences. 

In my perspective, content embodies the theory, reflections, and thinking, while form liberates these ideas into expressive action. This dynamic interplay between form and content resonates with the earlier question on intention and spontaneity, engaging in an artistic conversation that invites viewers to explore the depths of their perceptions and emotions. 

By doing so art becomes more than an object of admiration or something to look at; it holds the power to transform, to engage, to co-create and to use it, it can take audiences on a profound journey through the intricate interplay of shape and substance, revealing its and their transformative essence. The viewer has the choice to hereby become part of the artwork and create a sort of artistic happening.

Are there any artists or artistic movements that have significantly influenced your work? 

Annina Roescheisen: The influence on my work spans across time with conscious and subconscious sources, drawing inspiration from the old like medieval art, resonating with poets like Dante Alighieri and painters like Giotto or Hieronymus Bosch, to the post-war era with artists such as Rothko, Agnes Martin, John Cage, Ad Reinhardt, and Eva Hesse. My fascination with medieval art lies in its iconography and visual language, akin to a newspaper with hidden messages waiting to be deciphered by the observer. Alchemy holds a profound fascination for me, transcending its physical aspects to symbolize the quest for inner wisdom and enlightenment. Within the spiritual realm, alchemy signifies the transformation of the self, akin to the alchemist’s pursuit of turning base metals into gold. These teachings embody the search for inner wisdom, enlightenment, and self-realization, represented by the mystical symbol of the “Golden Stone” or “Philosopher’s Stone.” This theme resonates in my artistic journey with post-war artists, who explore existentialism, spirituality, and the profound connection between the viewer and the artwork. Both the post-war and medieval eras delve into the depths of human consciousness, exploring the mystical and transcendent aspects of existence.

The diverse influences give birth to multidimensional themes in my art, shaping new forms and expressions within the intangible realms of emotions and thoughts, creating a span between former and contemporary times. While the existential and philosophical questions may share similarities with medieval and post-war eras, my personal experiences and the contemporary cultural and global circumstances create a unique evolution in artistic style. The ever-changing context gives space for constant and infinite innovation, reimagining the visual vocabulary through familiar concepts, resulting in a continual emergence of new forms, shapes, and conceptualizations.

How do you conceptualize the balance (or tension) between tradition and innovation in your artwork?

Annina Roescheisen: I see tradition and innovation as interconnected elements in my artwork. I draw from traditional techniques and artistic heritage, while infusing innovative approaches, pushing the boundaries of perception and artistic expression. I love to explore and to experiment with the old and the new. I am currently working on a mixed reality project with the founder of Dart (New York) William Wong including AI and my paintings on an outdoor subjective experience for every participant. 

How does the concept of ‘time’ manifest in your creations? 

Annina Roescheisen: Absorbation. Time is a concept that takes on diverse dimensions in my artistic process: echoing Einstein, who proposed that time may not have an objective existence but rather be relative to observers’ speeds and gravitational fields.  Hence when I immerse myself in painting, time loses its significance, and I become completely absorbed in the artwork. However, different techniques employed in various series carry distinct temporal implications. For instance, the creative approach for Dragon paintings diverges from that of drawings or the Vibrational Strings series.

In the Dragon paintings, which are mostly commissioned, the main form emerges from connecting with the frequency of the person who acquires the piece. I can feel the form and hence this feeling takes me on an internal journey that allows me to feel their energy and life story that passes through me onto the canvas. The process, undertaken while working from all four sides with the painting on the floor, can extend up to 26 continuously hours. These paintings are not conceptualized in advance, and I refrain from interfering with the energies flowing through me. I consider them as depictions of the person’s soul and their soul potential.

Both series heavily involve the body as a vital instrument, channeling energies and movements that culminate in the final strokes on the canvas. Engaging in the artistic process feels like a performance, lasting for hours, days, or even months. During these moments, I find solace in music, like Brian Eno’s hour-long Thursday afternoon session, which aids in transcending time and space.

Conversely, the Vibrational Strings series, with its feather and ink layers, requires about 2-3 months of daily 10-12hours per painting. I work from a bench, bowing from above into the canvas, and becoming one with the artwork through a rhythmic movement, akin to waves flowing into and onto the canvas. Time dissolves.

“For me, art is a journey of continuous growth and exploration, always seeking to push the boundaries and unearth innovative techniques that can delve deeper into the essence of my practice. “

-Annina Roescheisen

Can you share some insights on how you incorporate aspects of your own identity into your artwork? 

Annina Roescheisen: Incorporating aspects of my own identity into my artwork is an intuitive process, where every inner reflection and emotional state finds its form on canvas or paper. My creations are imbued with my fingerprints and vibrations, making them a deeply personal and authentic expression of whom I am. However, I don’t consciously seek to share my story. Instead, I am drawn to explore universal themes that can resonate with viewers on a profound level. The beauty of my art lies in the uncontrolled and authentic process of sharing emotions and states of being that have the potential to touch the collective human experience.

Looking to the future, how do you envision the evolution of your art? What concepts or techniques are you eager to explore next? 

Annina Roescheisen: Simplicity. Looking to the future, the evolution of my art is guided by the concept and reflections of simplicity. It’s fascinating to witness how artists’ careers often lead to purified expressions at the end of their lifetimes. I find that a single stroke can often convey more emotion than hundreds that came before it. I think of artist like Picasso or the Japanese artist Hasegawa Tōhaku, who created detailed paintings in his early career and as he aged, he developed a style known as “haboku” or “broken ink,” which focused on spontaneous brushwork and expressive, simplistic ink washes. As Da Vinci once said, “Simplicity is the ultimate sophistication.” In embracing simplicity, I aim to reach an inner and outer state where every stroke embodies essence and total presence, leaving no room for hesitation or doubt. The precise forms and shapes are constantly evolving; hence I am curious to see my creations in the years to come.