The work of Julia Krahn seeks the permeability of the sight between the artist’s and the observer’s identity. Daily objects, symbols, traces of the past are redefined here through photographic images. Her works are therefore characterized by fluid ambiguity: the artist is interested in crystallizing the fragments of a secret and real private scenario and transforming it from a liquid to a solid state, rather than simply narrating a story or recording the passing of time. The artist reflects upon lost and unbalanced values in society, family, and religion so far as pointing her camera towards images that recall Christian icons. She creates images that underline the contrast with traditional symbols and she works on inner conflicts, framing pairs of opposites, at times creating self-portraits with the automatic shutter release using her own body.
In Krahn’s work, equal importance is given to image and format on a range of works that are developed on different scales and supports creating an overall feeling that, from time to time, leads the observer into new perceptions of the image. Her giant wallpapers with all the strength of an image without supports, glass or frames overbear the observer; physically overlook him, acquiring pictorial features, which, like huge frescos, break the distance between the observer and the ambient. At the same time, the artist combines the space with small unique pieces, such as the metal frame cameos, which, unlike the wallpapers, set up a face-to-face dialogue with the viewer, involving him with the preciousness of the object and its perception. Likewise, ‘memories’ is a series of photos/objects mounted on a thick acrylic glass, which acts as a lens to the image, leading the mind to the dimension of the souvenirs. In this context, the artist inserts more classical formats, like framed pictures created using more traditional supports.