Cornelia Mohr’s particular love for the abundance of nature is instantly apparent, seeing as her protagonists almost always hail from flora and fauna and often come with witty descriptions of their characteristics and idiosyncrasies.
She meticulously nurtures her love for detail, frequently making these details the main focus and actual theme of her depictions. These details are then often elucidated by means of arrows, exclamation marks and dramatically looking underlining.
This approach is based on the artist’s pronounced and sarcastic sense of humour and her wish to confront her beholders in a particular way – her beholders, or rather her “readers”, as Mohr herself likes to call them, seeing as she often refers to herself as an “author” in her depictions. She deliberately wants to create two types of worlds, the world of colour and that of letters. In an amusing game of blending and sometimes even confusing these two worlds, she encourages beholders to sound out their own senses and to explore the various possibilities of the renderings. It is a mischievously challenging confrontation about what is depicted, which is never meant to create a definite impression, but which is to be understood merely as a small, coincidental window into a constantly changing cosmos.
The renderings are teeming with all sorts of animals – elks, crows, pigs, lizards or even poultry and preferably insects and single-cell organisms – and show open-air scenes and meadows, vortexes, downpours, lovely days and merry moments in Mohr’s universe. Her protagonists are presented on bars, lying on the floor, in intimate togetherness or preferring meditative solitude, at times perspectively explored and always accompanied by headings, texts and abstract elements.
The drawings and collages in her cycle “De Naturalia” are rich in colour, lines and dramatics and were all created in a small-scale format. Her choice of format probably springs from her readiness to preserve a childlike curiosity – to allow nature to come close, to observe her from underneath and to be able to thus gather more diverse and less conventional impressions.
“I have always been fascinated by “small worlds”, for they force you to stop and look or listen more closely, to contemplate your surroundings more intently and to give yourself the opportunity to feel and experience something more acutely. The time factor is very important in this, it is vital to let go and to allow yourself to delve into the cosmos of your own realities. The colourfulness and density of these mini worlds serves as a sort of protection – those who do not seek to understand them won’t experience them, as their multitude of colours and shapes defends them against all too fleeting glances and superficial interpretations. In my opinion, this is a real privilege, not only for the worlds themselves but especially for their beholders. (Cornelia Mohr)
From time to time Mohr opts to present her worlds in a three-dimensional guise, capturing her cosmos in glass cubes or presenting it in display cases on the wall – always as collages and created with mixed techniques. These objects are three-dimensional enrichments of her drawings and impressively highlight the diversity and creativity of her worlds – worlds which the “draftswoman and author” wants beholders to view from all angles and which aim to reflect the inconceivable beauty of nature.
Worlds and Words