Jorinde Voigt

Quick Facts

Full Name	Jorinde Voigt
Occupation	Artist
Date Of Birth	Jan 19, 1977(1977-01-19)
Age	47
Birthplace	Frankfurt
Country	Germany
Horoscope	Capricorn

Jorinde Voigt Biography

Jorinde Voigt is one of the most popular and richest Artist who was born on January 19, 1977 in Frankfurt, Germany. Jorinde Voigt (born on 19th January 1977 Frankfurt am Main) is an German artist working in drawing text, painting, and installation. She has taught abstract drawing as well as painting in the Academy of Fine Arts, Munich since 2014.

In her sculptural practice, which is along with her drawings Jorinde Voigt transforms their basic concepts into three-dimensional objects as well as installations. This includes MI and MII(Action and Study of Communication) (2009), Botanic code(2009-2010), Grammatik [grammar] (2010) and Collective Time (2010). In 2012, she made sculptures made of fluorescent tubes as a response to the essay by Roland Barthes A Lover’s Discourse: Fragments. Voigt changed phrases from her text and spells them out using fluorescent tubes. They are labelled with the passage the words were derived from and a the chapter’s the citation. The imagined images are displayed in the form of luminous, coloured lines.

Voigt began to combine her notation method with collage technique in 2011. The series 308 Views on Plants and Trees(2011), features layers of delicate filigree lines, curves and abstract fields of coloured paper. The latter are silhouettes cut with scissors, the outlines of which Voigt derived from her observation of different species of tree. Each coloured silhouette represents one perspective of the artist. While the first sight from a distance forms an overview, the gaze movescloser to the flora’s structures with each one of the silhouettesthat stand for a specific gaze (the “views” referred to in the title) of the artist. Jorinde Voigt’s precise study of the different species of trees corresponds to the idea that underlies all of her work: the understanding of reality as a microcosm.[8] The series Views on Chinese Erotic Art. From 16th to 20th Century (2011) followed in this lineage. The series references paintings from the exhibition The Chinese Pleasure Garden – Erotic Art from the Bertholet collection of the museum of East-Asian Art in Dahlem (2011). Jorinde Voigt is fascinated by the characteristics of erotic painting and woodblock prints and concerns herself with their shapes and colours. Per drawing she created up to 100 views on the erotic works, singa colour chart to determine the corresponding colour codes of the garments, lovers, wallpaper and furniture depicted. Elements such as tables, mirrors, hair, genitalia or feet can be made out. Some of the coloured areas recall the colouring of drawings in comics.[9]Colors and shapes are conjugated hundredfold in Voigt’s collages in order to bring out the characteristics of the object observed. This approach is a reference to the Chinese and Japanese painting tradition that captured a scene in multiple views, most famously Hokusai’s 36 Views of Mount Fuji (1830-1836).After botany and the visual arts, the artist turned her attention to literature as a research field: the 36-part series Piece for Words and Views(2012) is based on Roland Barthes’s essay A Lover’s Discourse Fragments(1978). Each colour corresponds to a quoted word, e.g. “coil”, “lake”, “Werther” or “heart”. These are the works that sparked spontaneous images in the artist’s imagination while reading. Her inner images are marked both by a collective memory as well as by her individual experiences. The result is a mix of figurative and abstract representation.[10]Piece for Words and Views(2012) marked a significant change in Jorinde Voigt’s work. From this point onward, the artist focussed her attention on the possibility of finding images out of internal processes. Aspects of imagination, memory, experience and emotion moved to the fore of her work.

Jorinde Voigt has been studying literary and philosophical works since 2012 and has, since this phase of work, been experimenting with gold leaf and marquetry techniques, resulting in drawings relating to Schopenhauer, Deleuze and Guattari, Epicurus, Goethe, Sloterdijk, Hofstadter, Plato, Canetti, Paul Celan and C. G. Jung. Voigt allows the viewer to be privy to her process of appropriation and attempts to understand the texts. She cuts out the surfaces contoured with pencil, adorns them with leaf gold and white gold, silver, platinum or palladium, and places it back to its original spot in the drawing. She then reworks the drawing with watercolour, pastels and oil pastels. The materiality of gold stands out among the general composition. From a distance and depending on the viewer’s position the shimmering and reflective precious metal seems to take on different shapes. This effect reflects Jorinde Voigt’s notion that ideas and images – represented by the gold surfaces – always change. The handwritten notation method took a back seat during this phase of work. The inner dynamics of the works, formerly brought out in her drawings in writing through spatial and temporal parameters, are now expressed through the use of precious metals.Voigt worked on the 48-part series Liebe als Passion. Zur Codierung von Intimitat [Love as passion. On the coding of intimacy] from 2013 to 2014, studying sociologist Niklas Luhmann’s eponymous book from 1982. Compared to previous works, the quoted words now seem to emancipate themselves and form completely new visual worlds. Pictorial elements gain the upper hand while sign, script and text retreat to the background. From that point on Voigt’s work becomes painterly: her visual language of imagination, figuration and abstraction, as well as the inherent rhythm of her serial visual compositions are reminiscent of the works of modern painters such as Wassily Kandinsky and Paul Klee [11]. The series Inkommunikabilitat [Incommunicability] (2014) and A difference that makes a difference (2014) belong to this group of works

Jorinde Voigt is currently represented by a variety of galleries, and her work is displayed in numerous museums as well as the public as well as private collections like the Centre Pompidou in Paris, the Museum of Modern Art in New York, the Art Institute of Chicago, Kupferstichkabinett in Berlin and in the Federal Art Collection Bonn, the Hamburger Kunsthalle in Hamburg, and the Grafische Sammlung in Munich. The year 2008 was the time that Jorinde Voigt won her Otto Dix award by the city of Gera as well as the Daniel & Florence Guerlain Contemporary Drawing award in 2012. The syllabary coded by she created in her notes and scores permits her to translate complex concepts in to visual composition. In the beginning of her artistic career Voigt focused on visualizing cultural and scientific phenomena. Her work of recent times is less concerned with the external world than the imagination and mental images.

Jorinde Voigt Net Worth

Jorinde Voigt is one of the richest Artist from Germany. According to our analysis, Wikipedia, Forbes & Business Insider, Jorinde Voigt 's net worth $5 Million. (Last Update: December 11, 2023)

After finishing high school at the Viktoriaschule school located in Darmstadt the year 1996 Voigt was a student of philosophy as well as modern German literary studies in the University of Gottingen. In 1998, Jorinde Voigt relocated to Berlin to study sociology, philosophy , and literature in the comparative department at Freie Universitat. From 1999 until 2003, she was a student in the Berlin University of the Arts in the department of multimedia with Christiane Mobus. In 2001, she was a student of Visual Art Studies in the Royal College of Art, London as part of the Erasmus European university exchange programme. Then she continued the course in Berlin as part of Katharina Sieverding’s Fine Art and Photography class, at which point she was awarded the degree in 2004 as a Meisterschuler. In the years between 1986 and 1996, during her schooling, Voigt had learnt cello at the Akademie fur Tonkunst [Academy of Sonic Arts in Darmstadt as well as working with Peter Wolf in Frankfurt.

It was not until a bit later in her artistic training that Jorinde Voigt was able to re-discover the medium of writing and drawing, which she primarily works with today. After her first photographic work on common cultural motifs in North American cities, she left photography and reproduction of existing images and instead experimented with paper, focusing on the characteristics of particular situations, like space, time, speed and shape. Voigt began to sketch photographs of her surroundings during her time at Florida during 2003. She made notation scores on paper with a small size. In the same year, when traveling through Indonesia she began collecting the sonic inventory. She began translating the frequency of events into numbers, lines as well as arrows, parentheses, and arrows. She also began to organize them on paper in a certain procedure. “At that time, my approach was to examine the frequency of events that characterise a specific cultural situation. This was more or less a transcription of reality.” Between 2003 and 2010, Voigt created a variety of studies and large-format work using the black-and-white inks on white paper. The work is constructed using rigorous rules and procedures, and mathematical parameters. Since then, Voigt has been concerned with capturing everyday phenomena that are invisible. She examines processes in mathematics, biology, physics, music and politics: Temperaturverlaufe (temperature patterns), Popsongs, Pulsschlage (pulse), Adlerfluge (eagle flights),sich kussende Paare (kissing couples), Himmelsrichtungen(cardinal directions), Windrichtungen (wind directions),Lichtbogen (lights arcs), Elektrizitat (electricity), Detonationen(explosions), Schussfelder (fields of fire) or Rotationen (rotations) are named as parameters of their drawings. The aim is not simply to depict an image, but rather to develop an entirely new way to look at our world’s complexity with its many layers and its synchronicity. “Finding a structure or a notation that remains as alive as possible, given that it is a living thing that is being observed”. Jorinde Voigt’s drawings are “graphical world detection machines”. Work like 22 kussensich I-VI (2 kiss I-VI (2006), Konstellation Algorithmus Adlerflug (constellation algorithm Eagle Flight 2007), PERM I-III (2007), ReWrite I-VI (2008), STAAT/Random II-XI (STATE/Random I-XI in 2008) as well as Symphonic area Var. 1 – 27 (2009) are all from this period of work. At this point, Jorinde Voigt began to work on large sheets of paper. The body and the size therefore became extremely important. The artist wrote notes starting at the edges of the paper, moving towards the center. Voigt over the course of months of painstakingly precise work over the entire surface of paper with intricate lines, numbers , and letters with the form of graphite, ink and even chalk. Voigt created a variety of patterns in order, chaos and order on the paper by alternating the self- imposed guidelines (algorithms) and a spontaneous deviation from the rules. This creates lively and vibrant style that sets the black-and-white drawings distinct from the rigid conceptual drawings like the work of Hanne Darboven. [5]

Voigt began working with colour in 2009. For the installation Botanic Code (2009/2010), the artist examined her own perception of colours during walks through various botanical gardens worldwide. She transposed the colours she perceived most strongly into swatches of colours that were in turn transposed onto aluminium rods, forming a code of sorts that provides data about colours, proportion and season. The installation translates the human brain’s linear perceptual structure to a parallel arrangement that allows for the data to be captured visually at once.[6] The drawings and sketches of Superdestinations (2010) show abstract lines drawn in coloured pencil and distributed intuitively over the surface of the paper. The title alone indicates the object that the notations refer to: concrete determinations of position noted in the synchronised parameters of form and colour. In Superdestinations, the examined object is abbreviated to its simplest visual base form at the moment of its perception and coded with the corresponding colour.[7] Jorinde Voigt developed the concept of horizons in 2010, giving birth to the series Interhorizontal Nexus I-VII (Kiev 1-7) (2010). The horizon, so Voigt, is one of the most fundamental lines in landscape, one that humans use for orientation, align and tune themselves to. In large drawings (that have by now reached a format of 258 x 208 cm), Voigt presents variations of possible colour spectra and curvatures of horizons.

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Who is Jorinde Voigt Dating?

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Facts & Trivia

Jorinde Ranked on the list of most popular Artist. Also ranked in the elit list of famous people born in Germany. Jorinde Voigt celebrates birthday on January 19 of every year.