Make up artist in new shoes - the paintings of Nora Soos.

"Basically a picture and its reading is not the shortest route to an object, but toward another picture." (Jean Baudrillard)

Nora Soos (1979) is the recipient of the 2005 Strabag Painting Award.  The young artist, who received her diploma, only last year, has already been the participant of numerous sought-after group exhibitions, and had a series of individual shows as well.  Her popularity is not a mere chance, her activity until now is an adequate expression of her serious relevance.  What does she know, what is the stake of this kind of painting?

The uninhibited, dynamic joy of painting that produced her paintings gather around a strong conceptual magnet core.  Simple, sometimes naive themes are built on the intellectual organization of the painting activity as one, even if such light things, occurrences, life situations or relationships are in the background that we normally consider a cliché:  Why is this always our business?  Split?  The fashion:  Clanking of shoes, Painting became the vogue, Where did I leave my gloves? ;  Tabloid story:  Turned yellow,  My bleeding heart.  Stylistically what is characteristic of the paintings of Nora Soos are abstraction and spectacle, strong brush strokes, dominant contour drawings along with blotchiness, piling of motives, the use of overview, the feeling of a collage and things floating in air.

Self - portrait, self - representation and the all - over piling of objects frame the stream of thematic series.  Material devices pathologic, intensified presence floods Nora's paintings:  objects and displayed things that do not fit on the canvas in their proliferation and stratification.  Accordingly talking about objects of this world will become script in Meta - language, an intermediary. The objects that determine the paintings banality, commonality develop secondary function:  they become cultural signs (Masculine tools). The emotional relationships in the world of the exemplary female painters manifest on the plane and the space of their art.  In this game the objects are valued allies, collected and lined up providing the tools for possession of the outside world.  The objects could be in a collective sequence - shoes, gloves, umbrellas, toys, and furniture - or even concretized motifs, typical, identifiable cultural signs - icons:  motifs of art histories outstanding "colleagues". One of the idols of the artist is Polke (Homage a Sigmar Polke) but she cites Van Gogh, Magritte, van Eyck and Meret Oppenheim in addition Flanagan and others, everybody! Tracing about a dozen work produced in 2002 it is easily recognizable the dynamics of conveyance:  hiding creative position.

I am you, and you are me!  Who is the original you or me?  The young artist with the objectified motif, bleached presentation surpasses the living picture, steps over the reference; she handles the pictures as a simple cultural data.  She offers an elegant solution for the Oedipus complex.  While she erects a monument for the ancestors, she devours them.  I do not envy Nora Soos' psychiatrist:  she is the self - confident innocence, who at one time devours her master!  There is a peculiar "thing" in Nora's studio, a symbolic facility:  a studio factotum, a utility bag hanging on her wall.  This device is revealing in its beauty and intimacy.  (by the way, naturally it's object oriented) A case with pockets sewn on, that serves to hold the most diverse array of utensils.  The devices or tools only visible enough from the pockets to accurately pick out what you need - and what the material hides Nora portrays.