Titania Seidl makes paintings that shift between figuration and abstraction. The paintings each have both representational and non-representational elements within them, not so much as a struggle between these elements but rather as a harmony within the frame. Symbols of non-images flow in different colors on the upper utensils, to recognizable images-animals and plants, human faces, household items… All elements are not some conventional relationship, but create new relationships. narrative status.

The white bottoms of some paintings appear to be missing, and these works are incomplete. To a certain extent, they are consistent with the blank artistic conception of traditional Chinese paintings. The presentation of these compositions and images is completely subjective, but this lack of subjectivity does not mean regret and incompleteness, nor does it mean giving up. Visual patterns emerge as if they have been in the process since before it began.From dripping paint in different colors,  to recognizable objects and living forms, such as houseplants, to outlines of human faces, to household items, discarded gloves all elements collapse together, albeit without tension, into an ongoing state of becoming. The paintings with their white under-surface of gessoed canvas are not even, in a way, complete, suggesting that this process of becoming is indeed on-going.

「KRIXXI KRAXXI」Installation view, © Nosbaum Reding, Luxemburg, 2023

But what is not present, it appears, are some of the emotive gestures found in other paintings. There is no mournfulness; there is no sense of astonishment or even giddiness. The form is presented as it is, but this is exactly the conundrum: form does not appear like this. Careful observatoon is clearly one element of her praxis as a painter, but another appears to be a certain kind of impartiality. The compositions and images are entirely subjective in their invention and presentation, but neither ruefulness nor abandon accompany this subjectivity. The paintings come into being as if they had been in this process well before they were begun.

Titania Seidl Solo Exhibiton「Eyes never quite catching」, Installation view ©Nicodim Gallery, Los Angeles, 2022

As a young European artist, he was initially influenced by classical paintings and contemporary vision. She specializes in oil painting and watercolor materials. Through the selection of sculptures in the picture, she performs the visual preferences and inner thinking expressed by the facial culture of the new generation of artists.

In 2024, ARCH GALLERY will co-plan with the artist to hold its first exhibition in Asia. The exhibition will focus on the artist’s research on the theme of “fruit” that is easily overlooked in classical paintings from 2021 to the present, with a sharply updated image language. At the same time, public art projects and art studio exhibition projects for artists in China will also be formulated simultaneously in 2024.

Titania Seidl’s work focuses on the informational value of images when broken down. Large and small, these paintings display themes drawn from various narrative contexts-from daily life, online media platforms, and art history. Combined with poetry, they reunite on the plane to form a new whole. Floating verses are interwoven around the work, evoking a loose narrative. Meaning is established in the moment as the artist switches between different narrative perspectives.

Titania Seidl Solo Exhibition「See it as a stranger might」, Installation view © Bildraum 07, Vienna, 2021

Her joint artistic practice with Lukas Thaler (1989) consists of drawings, objects and recordings. Their site-specific environment composed of paintings, objects, and audio recordings comprises naive “indigenous” facial cartoons, which are connected to oil paintings showing fragments of idealized human body parts. It is an absurd dialogue between objects and paintings about the possibility of being not only the head, but also the rest of the human body, forming a “full-fledged” person.

The dismantling element of the human body is also an important symbol in the artist’s creation. Their joint creation is an absurd dialogue between actual objects and paintings. The dismantled human body is a cartoonish representation of the repulsive psychological orientation of removing parts of its limbs. On the contrary, a certain vitality spreads, Discuss the reshaping of non-existent life or newly born life from a multi-sensory perspective.

Titania Seidl & Lukas Thaler,「Antroporary」Installation view ©Jan Koniarek Gallery, Trnava, 2020

A painting, for example, A painting is a great container. Perhaps the best there is. Mostly it contains itself, naturally. But undeniably it also carries the communal memory of the culture it’s produced.

In Titania’s case, the paintings contain the emblems of civilised image cultures: classical ones, baroque ones, and the uncomfortably contemporary. The compositions resembling a user interface, showcasing the way which images appear to us on a daily basis. The ingratiating rythm of line and delicacy of colour could have made them reductively chic, were it not for the keen move of keeping them in a trivial, nearly A4-scale. Motifs (Star of Bethlehem flowers, vases, running dogs and fashion items) commanding monumentality, are efficiently robbed of exactly that.

An intricate text piece-that much like the paintings is almost obsessively ornate-styled like an intimate letter, spells out an unlikely and disturbing fantasy, one of achieving inhuman beauty. Titania plays a high-stakes game with desire images, presenting them in a double gesture of indulgence – and stern self-restraint.