(born in Berlin in 1969)
Calm - Windstill, 2007, signed, dated and titled Jonas Burgert 2007 windstill on the reverse, oil on canvas, 160 x 140 cm, on stretcher

Provenance:
Corporate Collection Germany

ExhibitedLiterature:
Kunsthalle Tübingen, 11 December 2010 – 6 March 2011, Kunsthalle Krems, 27 March - 13 June 2011, Jonas Burgert, Lebendversuch, exhib. cat. Cologne 2011, no. 61, p. 99, with full-page col-ill. p. 36

People are at the centre of Jonas Burgert's works. Out of context, they move as individuals, in groups or populate the picture surface as veritable "human clusters". Born of the artist's imagination and inventiveness, his "creatures" occasionally appear manneristically exaggerated, with overlong limbs and distorted forms. Embedded in tense, absurd, enigmatic, metaphorical, and destructive scenarios, we encounter individuals who, despite their immediate proximity to others, seem completely isolated and segregated. They seem to be thrown back on themselves, introverted, lost in thought, empty and unable to make contact with others. And even those who seem to have caught our eye - like the person standing here with their head wrapped in linen and looking directly at us - nevertheless look past us and through us. In his art, the artist poses questions about human existence in all its vulnerability and search for meaning. He combines archaic elements with those from the modern world in order to emphasise the timeless dimension of the central questions of human existence.

see: Jonas Burgert. Sinn frisst, exhib. cat. Arp Museum Bahnhof Rolandseck, 16 february – 16 august 2020, p. 96

“I have thought about how I can best capture the peculiarity of our time on
canvas. How can I integrate in my paintings the cynical and artificial elements that
I feel characterize our time?

I found the wonderful idea of doing this via colour, in an abstract manner. I proceed as follows: on the canvas I develop a completely classical
theme and composition that can be quiescent at times, then change the proportions at my will and finally try to exhaust the colours by drawing them out until they almost become toxic, poisonous.

Some of these colour contrasts are so extreme that the process of viewing them can be rather unpleasant for the observer. But I love that! Colours are vitally important to me, they are quite fantastic!”
Jonas Burgert