Maltes inspiration often begins with a memory, a place or a snapshot. Disguising the personal references, he uses his own set of codes made up of personal symbols, signs and lyrics to then again decode them through different layers applied on to the canvas. Rather than implementing his own story through known codes, he educes the viewer’s own memories. Fragments of texts in its meaning and typography may link to a very personal experience, while at the same time it might resemble a banal memo as commonly seen on social media. Malte tells his own story while capturing the spirit of our ceaseless journey between the digital and the analogue. Further, sketches and scribbles, blurred photographs and faded texts only give hints of a reference without revealing it fully. Underlined through the use of subtle, tranquil colours, contextual anchor points seem to vanish. Through this play of codes and tones, words and signs, Malte Zenses develops his own visual language and aesthetic. Formalistically not bound by materiality or media, he constantly relates between different places and harmonizes the personal and impersonal. His artistic practice can therefore also be described as an appropriation, translation and recycling of experienced reality.
Malte Zenses (b. 1987 Solingen, Germany, lives and works in Berlin) studied at the Hochschule für Gestaltung Offenbach with Prof. Wolfgang Luy and Prof. Susanne M. Winterling as well as at the Kunstakademie Düsseldorf with Prof. Andreas Schulze. In the past years, he presented his work in solo exhibitions at Kunstverein Nuremberg (2017); Salon Kennedy, Frankfurt am Main (2017) and Studio Picknick, Berlin (2016). Group exhibitions include Nassauischer Kunstverein, Wiesbaden (2018); Galerie Kenilworth, Milwaukee (2018); Kasseler Kunstverein (2018); Rod Barton, London (2017) and Just Married One, Osaka (2017).
Photography: Alexey Shlyk