In her work Christine Weber assimilates stills from the movie Kill Bill by Quentin Tarantino
and images taken from the mass media. Fictional scenes of a highly coreographed fight
between female protagonists are confronted with documentary material depicting moments
of repression and threat. Her paintings embrace the aestheticism of cinema and the
voyeurism, which is characteristical for the way the media report on disasters.
The irritation of the viewer resulting from the fighting and the tragedy visible
in the paintings, increasingly gives way to a greater feeling of amazement over
this peculiar style of using death and violence as a decorative element.
By applying formal painting techiques, like mixing abstract and realistic elements,
Christine Weber intervenes into the substance of the found images and therby initiates
a process of disintegration. The media images are transferred from their previous
function into a new autonomy, own to painting. By digitaly cutting and destroying
the samples and by using the method of a "super flat" colour application she alludes
to the material surface of her paintings. She raises the question, about the
relationship between surface and content, appearance and reality and enquires the way we handle images and depict reality.
Christine Weber’s work examines our relationship to a world of commercialized and manipulative images, which occupy more and more our life and form our perception. Her paintings can be described as a concentrate of this reflection and examination process. "She alludes to the problem which we are confronted with when face-to-face with allmost all pictures: what do we want to see” (Güther-Holler Schuster, active surface, Neue Galerie Graz, 2006, p. 13)
After receiving her diploma in Visual Communications at the University of Applied Sciences, Bielefeld, Christine Weber graduated in Fine Arts at the Berlin University of the Arts in 1998. 2000 she received the Else-Heiliger scholarship. 2001 she participated it in the group exhibition IN GOD WE TRUST at ABEL Neue Kunst, Berlin. In 2002 she exhibited together with the artists group of BEWEGUNG NURR, in the Dresdener Leonhardi Museum and showed her WEAK END-series at ABEL Neue Kunst. In 2003 her works were shown in the group exhibition SYNTHETIC FORCES (catalogue) at ABEL and her painting series WEAK END at the Lisi Hämmerle gallery, Bregenz/A. In 2004 she participated in the artist project Goldrausch IT and her works were presented at the Kunstraum Kreuzberg/Bethanien, Berlin (catalogue). Further exhibition include: 2004 HEAPS at ABEL Neue Kunst; ZBO SdM 052004, Bundeskunsthalle, Bonn (G); 2005 richtig wichtig, PAKT, Amsterdam (G) and 2004 German and Chinese painters, at Alexander Ochs Galleries, Beijing, China (G). 2005 she was an Artist in Residence at the Neue galerie Graz (A); a group show at the Neue Galerie Graz will follow in November 2006.