Emmanuelle Quertain first started questioning virtual reality and its relation to painting through her work in 2016, when the exhibition Bruegel Unseen Masterpieces took place at Royal Museum of Fine Arts of Brussels. For this exhibition the Museum cooperated with Google, who were allowed to make explicit interventions in the hanging and the display of the exhibition. The ideology of Google invites itself into the space of the museum with a very clear position on what is art and how it should be shown.
The series of paintings presented in VIRTUAL PROPORTIONS are all dealing with the topic of lack of quality of virtual images. They are like a relic or a trace of looking at a bad quality image. With Quertains attempt to paint a screenshot from the internet or social media, she proposes to become the owner of an arbitrary proportion report. Her studies shown at Reisebürogalerie are all inspired by social medias logic and will always be transfer spaces. The way they reflect our subjectivity construct creates a new abusive image of ourselves. The show VIRTUAL PROPORTIONS gives the possibility to look at it with an additional distance.
“I wanted to paint the little courtyard that social media offers to play in. I wanted to paint its logic. So I show a frame and regular geometric form inspired by a massive system of communication. The main aesthetic criteria for selecting these works, create them and show them where banality, evidence and stupidity.”