| Bettina Rave’s new paintings are more uniform in their image structure and simultaneously more complex in the representation of time flow. The titles of the “Shaped Canvas” series from 1994-95 each refer to states of time: “eben” (just now), “gleich” (in a little while), “jetzt” (now), “dann” (then).
A square opening in the painting formats can be associatively correlated to a traditional TV screen and a rectangular one can similarly be compared to a wide screen format for newer films.
The rapidly moving spots of light, forms and clouds, which appear blurred, like a photograph that is out-of-focus, should be differentiated in the three-dimensional levels of brightness of their light blue tones.
| As representations, they could originate from both real nature as well as technology’s world of reproduction.
Consequently, to our eyes these images of the processes of movement shift between levels of perception and representation, or for instance, from their technical reproduction as video stills or printed images.
Bettina Rave has found a quiet, almost meditative form for representing a fundamental problem in the fine arts: Is a work still “like nature” (Paul Klee), which is to say an invention that parallels nature, or instead, should it be considered in terms of its technical reproducibility?
| Are images still copies of nature today, or only decipherable on the basis of codices and in recognition of the structures created by the worlds of new media?
Are we still influenced by the copies of the world or by those that have now been known for a generation as the “second reality?”
Bettina Rave’s images, which appear so restrained, are not fuzzy logic or words, but convert the intellectual discourse into sensuous visual images. In this way, she has created one possible form for panel paintings of the electronic age.