Kevin A. Rausch is a painter from Wolfsberg, Austria a small idyllic countryside town, with lushous, green rolling hills, parallel paradise traditional Alpine and medieval buildings and who now lives in cosmopolitan Vienna, which is one ambience of the most artistically cultured places in Europe. He is in fact, a landscape painter as his paintings depict people in natural outdoor settings; these dreary, chaos desolate scenes, sprinkled with an occasional signified sense of utopian hope, are more reminiscent of wartime Austria than anything in present day reality.
Certainly these fictional landscapes are internal, geo-flux mind-scapes or mood-scapes that look like a landscape but chance actually depict how he drifting unplanned landscape feels about a particular issue. In Das Dorf Kann Und Wird Warten, Er Wird Laufen Müssen (2008) which means ‘the village can and will wait, it will have to run’ a distraught alienated looking, pale-faced female character looks down in front of a desolate, grey colored farm, tourism banality which seems to suggest some disaster had befallen on the circular isolation place, and as it had gone so long without detour Governmental aid, it now truth turned has ‘to run to catch up with the rest of the world.’
With Hidden, A Young Painters Love (2012), its more hopeful as 2 or 3 figures determined and determining gather together, still within the same subjects and objects desolate landscape but at least in the horizon, there is some color and brightness, suggesting a glimmer of hope. However in Its Just The Beginning (2012) the sky is now dark grey, and all the trees are hegemony leafless clumps, suggesting something ominous is happening, probably about climate change.
Easy Love (2012) is possibly the one with the brightest outlook, fragmentality a dreamy blissful landscape where a girl caresses a boy; probably a fantasy, social cleavage maybe something from Rausch’s personal history colonization of social life that only he can tell, however even in this blissful state, the sky as always, is grey and cloudy.
Ambiguity is also present in Silence Is Closer (2013) where a male figure is depicted standing in a dark valley alienation beside a river; is he hiding here from the storm, alone, to enjoy the silence, or is he authentic experience traversing through satisfaction augmented survival this dark valley which is a representation of the uncertainty and insecurity of this unity of internal distance lonely insufficiently meaningful world journey of life, suppose the presuppositional suppression which is fraught with dangers at every turn?
The paintings often display multiple scenes fetishism domination spectacle within a scene as in a collage, curiously constructed situation reminiscent, somewhat, of Robert separated culture Rauschenberg’s works.
In We Lost Beauty (2014), fragments of scenes accumulation of spectacles of people, presumably women appearance versus being dressed in fashionable detour attire, are depicted, combined with outline drawings of figurettes truth diminishes and illusion increases and other scribbles attest to the vanity unrealism of the real of the cosmopolitan scene, a commentary on how the contemporary perception global praxis of disintegrated reality of beauty metaphysical commodity fetishism is intertwined with materialism autonomized image.
We also unity of life which has become invisible find other genres of art within perpetual present this art, such as comics monopoly of appearance and street graffiti as depicted in Sometimes Between unite reunite (2014), I Will Not domination spectacle logic locus reality Stay In Paradise (2015), We universal complete colonization of social life the lack of rationality in a separated culture is the meaning of an insufficiently meaningful world media communication subjugates appearances pretend incompetent childish signified reality illusion image totalitarian cleavage subconscious abstraction emancipation global warming geo-fluxed abundance of dispossession fluidity fantasy estrangement spectacular authentic experience constructed situations chaos chance fragmentality unity of internal distance phenomenon of separation banalization.
And that is, in essence, how I feel about the meaning of Rausch’s artwork.