The artwork „verkehrt,“ created by Matthias Maaß on April 29, 2018, features an abstract portrait of a female figure in ink and watercolor on paper. A distinctive feature is the unconventional depiction of the eyes and forehead, appearing rotated by 90 degrees. This twisted view could symbolically represent a „twisted“ worldview, a dystopian vision, or the expression of mental illness. 

The color palette of the work is predominantly in subdued, earthy tones, making the red and yellow elements particularly stand out. The painting technique reveals an interesting dynamic: while the lighter watercolors were applied softly with a higher fluid content, the darker, rapid strokes indicate a certain impulsivity, punctuated by moments of pause. The fine ink lines that provide detail also partially exhibit this slowing of brushwork. This contrast in painting techniques contributes to the intense expressiveness of the work.

The Impact of Deviation

In analyzing the work, the portrayal of the „twisted“ eyes is particularly striking. This unusual design opens up a fascinating discussion about the perception of „correctness“ and „wrongness“ in art. The spiral eyes, a common stylistic element for depicting hypnosis, emerging madness, or a break from reality, and as a central body of human expression, are deliberately turned against conventional portrayal here. Their spiraling and twisting challenge the viewer to question their own perception of normality, leading to an internal debate on what is considered „right.“ The intuitive impulse to compare the figure with an idealized, „right“ version of itself – „if the eyes were not turned upside down, then…“ – reflects our deeply ingrained notions of norm and deviation.

Had the eyes been portrayed in a conventional manner, a completely different expression would emerge, possibly a steely, penetrating gaze. However, the actual twisting breaks with this expectation and deviates from the norm. This deviation not only loosens the expression of the figure but also softens the potential intensity and directness of the gaze. It creates a kind of visual movement, typically expressed through emotional states in faces. The actual twisting, however, eases the intensity of the gaze and reduces the potential threat, while simultaneously creating emotional movement. This is further amplified by the dynamically painted hair.

Subtleties in Detail

The lips of the figure are gently smiling, hinted at by a quickly drawn ink line. Above the orange-red mouth lies a layer of translucent, brown-gray watercolor. The partial omission of color, leaving a third of the face in the natural paper color, is also interesting. The yellow semicircle above the eyes, representing the forehead, and the clothing, pick up the yellow color, creating a visual connection in the image. The hair is portrayed as large, overlapping masses without individual strands, contributing to the abstract overall design. Despite the abstraction, it’s clear that the artist possessed a profound talent and understanding of portraying faces.

The Title ‚verkehrt‘ and Its Implications

The word „verkehrt“ in German has several meanings and nuances. It originates from the verb „verkehren,“ which originally meant „to go back and forth,“ „to turn around,“ „to change.“ Over time, additional meanings developed, including „wrong“ or „not right,“ often implying a deviation from the norm or the expected.

In art, the concept of „verkehrt“ can be interpreted in multiple ways. The word can symbolize a reversal or a change of perspective, both literally and metaphorically. In abstract art, this could mean that traditional views, techniques, or art forms and practices are reversed or questioned. Thus, the turning of the eyes can refer here to a new form of expression, a change in perspective.

In art research, engaging with the concept of „verkehrt“ can help expand the boundaries of conventional understanding of art and gain deeper insights into the cultural, social, and philosophical contexts in which art is created and received. It promotes critical thinking and questioning of conventions, which is essential for the development of art and its role in society.

The title „verkehrt,“ prominently placed in the upper area of the image, functions less as a direct statement of the depicted figure but more as a kind of headline or external attribution. This placement of the title reflects how society often labels people who deviate from the norm. This arrangement could thus be interpreted as the artist’s critical reflection on societal structures and the tendency to categorize deviations, challenging the viewer to think about the cultural, social, and philosophical contexts of art.