Lia Anna Hennig at Future50

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Skeletons in the Cupboard
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Skeletons in the Cupboard, 2007
ink on paper
70cm x 100cm
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Lia Anna Hennig's meticulous drawings are intimate and compelling. As is the case with her video work, they are obsessive, humorous and mesmerising. Like some outpouring from the darker reaches of her id, unidentifiable organic shapes and patterns intermingle with recognisable forms in a fantastical miasma. Food and its consumption (and, sometimes, its regurgitation) are recurring motifs – regularly alluding to in her work's titles – and here in the drawings elements that appear to be various comestible items blend together with what could be the internal organs of the digestive tract, though it is often unclear as to which is which.

Intricately drawn, they could be seen to flirt with madness, with a disturbing undercurrent emerging from beneath their fairytale-like and initially innocuous looking surfaces, brimming with repressed thoughts and compulsive actions or traumas suffered or endured.

'Her drawings – repeated dots, dashes, circles, curlicues, spirals and tiny figurative motifs such as teardrops, love hearts and strawberries that sometimes accumulate to create larger images – knowingly plunder the obsessive, hallucinatory style of Outsider artists such as Adolf Wölfli and Edmund Monsiel and plunge us into a rich, disorientating arena that ultimately confuses what is being consumed and by whom.'1

Paul Stone, 2008

1. Martin Coomer, essay on the artist to accompany the exhibition Omnivores at Alexia Goethe Gallery, 2008

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