Das Fünfte Element
The Fifth Element

Galerie Tanja Wagner, Berlin
November 15, 2013 – January 11, 2014

In her current works Trojnarski refers to electrophysical discoveries of the 18th and 19th century that form the foundation for industrial development and modern progress.
The artist deals in particular with electro-magnetic experiments and phenomena, especially the experiments of Nicola Tesla.
The correspondent painting Tesla relates to the laboratory of the scientist which was located in the mountain desert of Colorado Springs. Around the largest Tesla-coil a simple wooden house was constructed. Here Tesla undertook his experiments with enormous lightning discharge. In the painting itself the artist unloads with broad brush marks intensive colours; orange and purple shades are strongly contrasting. In between the lucent fragments, pieces of pale areas are connected collage-like with each other.


Tesla, Paper and oil on canvas, 200 x 200 cm, 2013

In Sympathie I (oil on grey board) pieces of rocks are facing each other with a copper plate placed between them. Similar to images of a sliced globe with its multiple layers Sympathie II shows four stones in a row. Symbolizing the correlation between all entities and substances the artist adverts to elemental relations.

In this sense the exhibition title Das Fünfte Element (The Fifth Element) features a double meaning: On the one hand the title refers to electricity and the wide field of electromagnetism, on the other hand the fifth element relates to love – as in the corresponding film by Luc Besson.
For Trojnarski the love of artists and scientists for their individual work is of special interest. She recognizes strong parallels in the passion and sensitivity, the power of observation as well as the unconditional creative urge and thirst for knowledge.
She judges the creative processes in the arts and sciences to be quite similar even though their results are basically different.
Generally Angelika J. Trojnarski deals in her work with topics that explore the tension between progress and destruction. The dualism created by mankind marks the field of research of the artist who reveals the traces of a self-inflicted depredation. Her hybrid realities are deserted: The fragility of human beings in regards of constant threats in a hyper technical world are plainly apparent in Trojnarski’s work.






Acrylic on canvas, copper and metal discs, copper foil on grey board
70 x 59 x 32 cm, 2013



Sympathie I & II, Oil, copper disc on grey board, each 108 x 150 cm, 2013


Sonnenwind I, Paper and oil on grey board, 58 x 41 cm, 2013



Sonnenwind III & IV, Paper and oil on grey board, 22 x 35 cm, 2013

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