Nathalia Edenmont - Samuelis Baumgarte Galery

Nathalia Edenmont

Self Portrait (Death Bed), 2008
C-type, 135 x 167 cm.
Self Portrait (Death Bed), 2008
C-type, 135 x 167 cm.
Bloom, 2012
C-type in schwarzem Holzrahmen, 150 x 193 cm.
Tamara, 2002
C-type Print mounted on Perspex, 120 x 120 cm.
Asia, 2006
C-type mounted on Perspex, 133 x 100 cm.
Sky, 2004
C-type Print mounted on Perspex, 120 x 100 cm.

Biography

Nathalia Edenmont was born in Yalta (Ukraine) and studied at the State Art School in Kiev from 1984-1987, later at the same institution in Simferopol. From 1998 to 2001 she studied at the Forsberg International School of Art and Design in Stockholm. Her work (artistic photography) has been exhibited throughout Europe, Russia and the United States.

Her works cover a wide range of subjects. And always in a simple and clear way, but very often also very atmospheric. There is certainly beauty in her pictures, but often also fear and horror, fear and disgust. For example, when she creates finger puppets from dead white mice - no one can be sure whether she has killed the animals or simply used an image editing program to good effect. Natalie Edenmont has faced such harsh criticism, not from art critics, but from animal rights activists, vegetarians and so on. People who are quick to get upset about something and who turn personal convictions into moral demands.

Even in subjects such as strangling beauties and innocent teenage girls in dark bedrooms, she always proves to be the great sorceress who creates a fascinating concoction of beauty and horror. The world into which Nathalia Edenmont leads the viewer seems familiar at first glance, but gradually one understands that her world is a different one, a new one and very different from ours.

In one of her works, a woman with bare breasts, looking at the viewer, holds what you think is a baby in front of her. But then you realize that it is not an infant, but a large piece of raw meat. There is a great deal of aesthetic philosophy and an interplay of meaning and motif here, all alluding to our hidden fears and dark memories, lining up to symbolize the perilous state of our existence. It's like hearing someone clearly shout "Behead them!", but without knowing if the hidden queen is referring to us.