Lena Knilli: Madonna mit Hosen, 2004, Kopf, Knospe, Blatt, 2004, Beine, Blatt, Baby, 2004
geboren 1961 in Graz, lebt und arbeitet in Wien. Sie studierte Malerei an der Hochschule der Künste in Berlin sowie an der Hochschule für Angewandte Kunst in Wien bei Maria Lassnig. Ihre Arbeiten stellte sie unter anderem in Wien, Graz, Prag, Brünn, Ljubljana und in den USA aus. Im KULTUM wurde Knilli in den Ausstellungen „mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) und „Seelenwäsche“ (2013) gezeigt.
born in Graz in 1961; lives and works in Vienna. She studied Painting at the UdK Berlin and in Maria Lassnig’s class at the University of Applied Arts Vienna. She exhibited her works i.a. in Vienna, Graz, Prague, Brno, Ljubljana, and in the USA. Knilli’s works were shown in the KULTUM in the exhibitions “Mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) and “Soul Underwear“ (2013).
Lena Knilli: Recreation, 5 part (English, Chinese, Polish, Afghan and Celebrity Mother), 2010
Being a mother herself Lena Knilli perceived nature as a caring and nourishing mother (Earth): A tree of life is bearing the fruit of a vegetal uterus in which a child is growing. Vegetal forms are assuming anthropomorphic traits, human bodies seem rooted in the world of botany or different ages are overlapping: A baby’s head is sitting on a woman’s body in front of which a hyacinth is blooming. The leaves of a tree remind of the lips of the mouth or the vulva. The stem of the fruit becomes a third leg. The leaf encloses the uterus, they fuse. In all her for the most part figurative images, Lena Knilli masterly carries the quality of the line to the extremes — also with the art of reduction. The "Madonna mit Hosen“ (Madonna with Trousers) signalizes a tenderness for the baby beyond all familiar images and moods: No upper part of the body, only trousered legs are shown, intensified once again by the encircling of the pelvis. Knilli’s works are defined by clear contours and powerful corporeality. The archetype of the nourishing mother as a synonym for fertile and caring nature as well as an undogmatic reference to the picture of the Madonna are adapted in Lena Knilli’s works, which are suffused by their own special poetics.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 828-829.