It is my own nature to range freely between the different stylistic elements oft the classic era, from realism to the abstract, and right to the concrete. For me, this is the expression of artistc freedom and serves to refresh and redifine a rather conventional realism. The stimulus for the creation of my artistic images is drawn from sensitive observation of my surroundings. Nature interests me in both in its internal and external manifestations, while also contains the debate over existential questions.
Metaphor for the injured creature
At first glance, the pigeon paintings must seem unusual and strange. The position of these tecnically flawless paintings lies beyond the widely customary and tangible abstraction.
In the ostensible use of iconographic references (gold leaf, pigeon as a symbol), the viewing oft he work gives rise to art historic associations in addition to making note of ist independence, …
The painter understands her pigeons as ambiguos „bearers of meaning in the field of tension that lies between two levels of reality.“ The generally naturalistic reproduction of the pigeons make them tangible „as metaphors fort he vulnerable creature per se“, Goertz. On the second level, the mode of representation contrasts with the surounding environment. Christa Goerz once more (quoted from the catalogue: A pigeon is not a pigeon is a pigeon). „Sublimating through the surface structure oft he image using sand, feathers, leaves and blossom remains, I alude to things that have no life left in them whatsoever, or only the memory o fit.“The figurative, almost natural form oft he pigeons and the isolated, artificial background ultimately describe the artistically motivated world view. The advancing de-substantiation oft he real, which only remains perceptible in the pigeon-like form, rids itself of a tearful world-weariness and instead, creates a fiction.
Referring only to itself and thrown back, without the accessory of tourists hurling breadcrumbs on southern plazas and northern pedestrian zones, the pigeons acquire autonomous meaning and award her painting a meditative calm.
exerpt from the Südkurier vom 12.8.1997, von Joachim Schwitzler, from the speech to the exhibition opening „Christa Goertz im Städt. Museum Engen“
Christa Goertz´s paintings react tot he reality of man, the worl of forms of appearance, in a multi-layered, interlinked, parabolic way.
A few moments suffice to understand what these pictures are not: namely the pretense of reality, virtuoso illusions, eye tricks.
Christa Goertz´s realism is not created through an artistic reproduction of reality. Rather, it is a pretext, the means of introduction to sensuel perception, the communication of sensual qualities. In this respect, it has sensory meaning.
Friedhelm Roettger, exerpt from the speech of the opening oft he exhibition at the Kunstverein