Featuring the artist's signature juxtapositions cut carefully from old magazines preceding ironic composition, 'Shy Wild' sees the artist explore the relationship between mostly wild animals and humans with a note on social media.
“Having grown up on a remote farm north of Otjiwarongo and now living in London, it continually amazes me how little respect, fear or understanding most people have of wild animals,” says Lacheiner-Kuhn. “We as humans displaced, tamed and treat animals as our accessories and in recent years, they have become a go-to for social media likes.”
“The increase of technology and screen-based social interaction contribute to our alienation from the wild and nature,” she says. “Also with globalisation and people being able to travel more freely, there is that constant want/need to out-do your social circle and selfies/photographs with wild animals in exotic places are top of the list for many westerners.”
Housing these ruminations in somewhat galactic glittering circles, Lacheiner-Kuhn recycles, remixes and appropriates images and materials to create new worlds entirely by steady, scalpel-wielding hand.
I work on a number of collage series simultaneously each with its own theme and focus. “Daydreamer” is the earliest of these series that focuses on escapism through remixing images into new narratives with composition and balance taking focus. Works are titled and aide the viewer but ultimately I enjoy how every person interprets the work differently.
“ This is Homeland 1970’s” is a series of photo collages which use photographs my grandmothers took across Namibia/SWA in the 1970’s. I used these photographs as they give me the feeling of a connection to the Na- mibian landscapes and the images of the rural farm and towns where I grew up.
is process was also a way to explore my family and Namibia’’s history. Largely a rescue from the printed photographs’ fate of shoebox or dusty, disused album,
‘ is is Homeland 1970’s’ lends new meaning to what was and what is while commenting on body perception, war and feminism in images underscored with ironic titles ranging from ‘Gagging the outlaw’ to ‘Bush inspection’. ese photomontages beautifully contrast concepts of old vs. new, conventional vs. unique, unpleasant vs. beautiful.
Gagging the Outlaw
Giraffes and Dirt Roads
Lets Take a Dive
Viv and the Satellite
Makalani Dancing Girls
Road to Nowhere
Sisters of Tradition
The Rowdy Gang
“Namibian Polaroid” series of photo collages which use photographs my grandmothers took across Namibia/SWA in the 1970’s and which where passed down to me after her death.
I used these photographs as they give me the feeling of a connection to the Namibian landscapes and the images of the rural farm and towns where I grew up.
A way to explore my family and Namibia’’s history and rescuing the printed photographs’ fate of shoebox or dusty, disused album.
“Homoerotic” explores my own sexuality and my struggle confined to lesbian clichés instead associating stronger with gay male stereotypes even going as far as having a few female drag alter egos. Intrigued by the hypersexed obsessive portraits of youth are central to this series.
Wilhelm Schack Series
Similar to my "Homeland" and "Namibian Polaroid" series this body of works is based on 1950's original photographs taken by Wilhelm Schack, a German zookeeper during the research of his book "I Hunted the White Rhinoceros – With Camera and Flash in Zululand". The photos where taken around the norther part of Namibia where and where acquired by my grandparents around the same time. Similar to "Homeland" I explore notions of identity, belonging and sexuality through these works
35mm Cinema Film & Wood
3.4m x 0.8m x 0.8m
Nowhereland is a series of photographs taken in Namibia on a stretch of desert known as the 'Moon landscape'.
The wide open spaces in stretches are intersected by power and water lines providing the otherwise hostile and uninhabited cost lines with the necessary provisions for human occupation.