Rosemarie Auberson paints in the afternoon: after a morning of research and admin; at a big table or on the floor – never vertically; in her Paris apartment. Her work is direct, comprehensible – large amorphic forms, blocks of colour that often grow to be defined by the limits of the support. And yet in their painterly realisation, rendered with a gestural imprecision, her work is also left open and ambiguous, hinting at the process of research and the experience that forms a prelude to her paintings.
Auberson understands her work as being informed by visual and cultural memory – image and afterimage distilled down into shape and colour; an instinctive response to a careful and studied exploration of form. “It never comes from nowhere,” Auberson explains. “There is always a dialogue between my work and my research – one informs the other – and ultimately it’s a process of refining this without controlling it.”
Auberson is conscious of the shifting social and cultural context a work of art can be understood in, and her works have been left unfinished, unfixed. They “reveal the decisions,” as Auberson says, the choices by which her paintings are constructed. “I don’t want to determine or establish too much. If you underline the idea of the unfinished or the indefinite, you can share the process of creating the artwork with the viewer, they can participate in it.”