(Synopsis)

It is not news that globalization is one of the paradigms of the 21st century. With all of its gains for the world it also carries inherent losses, one such being the demise of historically evolved cultures. And it equally creates new challenges, such as the social impact of old and new values. Marcella Lassen, a painter who lives and works in Switzerland, is an artist who focuses upon globalization processes and their fallout, and incorporates them into her image worlds.

Marcella Lassen has devoted herself to subjects which are internationally recognizable through high-impact media attention. As a result, these subjects-- be they persons, products or things-- have attained "icon" status. Initially these modern icons embody elements which exert immense fascination upon the public. But they soon become self-perpetuating, reinforcing and enhancing their status through permanent media presence. Lassen portrays these icons in a completely neutral manner, free of judgment or evaluation, for her understanding of the artist’s task is simply to hold up a mirror to the world. The assessment of that which she depicts is left entirely to the viewer. She depicts, portrays, paints—but does not comment.

Lassen portrays these icons in a completely neutral manner, free of judgment or evaluation, for her understanding of the artist’s task is simply to hold up a mirror to the world.

So what do Marcella Lassen’s paintings actually show us? First and foremost, the modern icon. Upon consideration of the historical context of this symbol, it becomes immediately apparent the contemporary equivalent has fully relinquished its initial spiritual character. The icons of the 21st century represent beauty, high-gloss and glamour, haute couture, sports. Nowhere is the process of secularization in global society more perceptible than in the contemporary character of modern icons. They have become the essence of global industrial Zeitgeist, the condensation of the values of our epoch, and are an unambiguous reference to the fact that in large parts of the developed world the masses no longer are interested in spiritual content, but rather idolize new gods in place of traditional deities. These new gods are beauty, material wealth, power and success. And Marcella Lassen portrays them all: Carla Bruni, the Queen, Karl Lagerfeld, Courtney Love, an F1 racing car, Sarah Palin, to name just a few.

Being the daughter of European immigrants, she retained a certain critical distance to the vernacular art; she did not reject its extant form, but rather possessed a heightened perception for form and content.

Marcella Lassen grew up in the 1960’s and 70’s in the USA, a time when Andy Warhol dominated the American art scene. Being the daughter of European immigrants, she retained a certain critical distance to the vernacular art; she did not reject its extant form, but rather possessed a heightened perception for form and content. Later on her generation experienced at firsthand the explosive globalization process of the 1990’s and first decade of the new millennium. The language of images consequently became much more internationally-oriented than that of Warhol’s day. Technically, Lassen’s version of Pop Art differentiates itself from that of Warhol’s as well: whereas Warhol and his generation defined their work through serial production, Marcella Lassen reverses the process by taking a serially produced product, such as the hamburger, and places it within a singular, absolutely unique, hand-painted picture.

Her superb painting skill was honed by years of study at the art academies in Vienna and Brussels, where she learned the techniques of the old masters.

Finally, Lassen’s work can be classified as photo-realistic, characterized by a certain cool, visual aesthetic which is enhanced by her preference for sharper contrasts. Her superb painting skill was honed by years of study at the art academies in Vienna and Brussels, where she learned the techniques of the old masters. The result is that she quietly reverts contemporary Pop Art to the traditional field of classical painting, yielding an entirely new visual tension. But beyond all else, Marcella Lassen’s paintings generate thoughtfulness and reflection about our contemporary state of being.

By Lena Naumann