“I did consider filmmaking for a little while. We move to a discussion on television and cinema, both formats that have also been influential to her development. Installation view at Garage Museum of Contemporary Art, Moscow, Russia. Kunsthaus Graz, Austria. Photography by UMJ/N Lackner Below: Yes No Why Later, 2015. All of that is fascinating for me.” Above: Who, I? Whom, You?, 2014. “Or how people move in the street, or how something heavy falls on the ground. I really like those things,” she enthuses. That this guy knows the ball is going to arrive there they learn it by heart but there is this really amazing way that they don’t repeat what they’ve done before. There was a moment-it is not so important now-when I was very interested in strategic paradigms of football teams. “I like how players on a field communicate. My instinctive guess is that she might look to the performed rhythms of contemporary dance, but she catches me off-guard with her response. Following on from this, I ask what frames of reference-beyond painting-she draws upon for this focus on the body. It’s not just a dead material, it’s being activated by the people who use it and who look at it,” Grosse observes. “I think that every art work is completely transformed by being looked at. The immediate feedback of human interaction within these installations is key, as viewers navigate on their own terms. It was an experience that stayed with me long after I had returned home, as if I had made a trip not just to Venice but to the moon. Moving through it, I felt as if I had arrived at a scene of mystical destruction, where rainbow rubble clustered, and walls appeared to emit a saturated glow. This unfamiliar environment was fully evident at the 56th Venice Biennale in 2015, where she coated giant sheets and piles of dirt with her layers of paint-always in unmixed colours. For Grosse, “leaving the canvas was an activity of revolution”, and by scaling up she invites viewers to inhabit an alternative, uncanny world that subverts expectation and makes the ordinary appear alien. Walking into the exhibition in real life, the illusion and the reality are both evident, as if you’ve been let loose amidst a psychedelic stage set. It both emphasises and veils the surrounding architecture, and is suggestive from certain angles of the type of rolled Colorama paper favoured by photographic and video studios, where perspective expands within the frame to a seemingly infinite vista. In her show at Gagosian, Prototypes of Imagination, a draped, rainbow-painted cloth dominates the imposing central space, stretching across more than twenty metres. Acrylic on canvas, 240 x 161 cm Top: Portrait by Benjamin McMahon Then I realized, ‘Oh, the wall is also a part of it.’ I found out about it very early.” Above: Untitled, 2018. “I had one piece of paper, then I glued four together so I had a larger field, and I would put it on a wall. “I think I always had a very natural feeling that I could expand the image… even as a child I did,” she remembers, talking about the impulse behind her huge-scale works. Grosse creates complete environments in which viewers can lose themselves, where there is no defined beginning and end observation becomes immersion. Set against the bleak beach landscape, it erupted like an outsized raspberry ripple dessert, surreal, seductive and hyper-saturated. The previous year at Rockaway Beach, New York, she turned her attention to a hut destroyed by Hurricane Sandy-at the invitation of MoMA PS1-coating it in great swirls of pink, red and white. At the South London Gallery in 2017 she engulfed the Victorian architecture of the exhibition space in riotous colour, which popped defiantly against the stark white of carefully stencilled areas left untouched.
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