Vera Lossau (Haan 1976) is an international working visual artist from Düsseldorf, Germany, where she lives and works. After studying at the Kunstakademie Düsseldorf (with Prof. Magdalena Jetelová [Meisterschülerbrief] and Prof. Rita McBride) she completed her master studies in the Chelsea College of Art & Design, London. A number of stipends and awards followed, among which the Künstlerinnenförderpreis of the county of North Rhine-Westphalia and several scholarschips. Vera Lossau holds a professorship for three-dimensional and spatial design at the Detmold School of Architecture and Interior Architecture.
Vera Lossau is represented in various private and public collections. Her work has been exhibited in art institutions and museums, including the Museum Schloss Moyland (Germany), Museum Morsbroich, Leverkusen (Germany), Stiftung Museum Kunstpalast, Düsseldorf (Germany), the Ludwig Forum for International Art, Aachen (Germany), Alfred Institute Tel Aviv (Israel), the Janco Dada Museum, Ein Hod (Israel), the IMMA Irish Museum of Modern Art Dublin (Ireland), the Total Museum of Contemporary Art, Seoul (Korea), the MAKK Museum of Applied Arts Cologne (Germany), the Kunstverein Mönchengladbach (Germany), the Haus der Kunst, Munich (Germany), the ME collectors room Olbricht Collection, Berlin (Germany), Sa Sa Art Projects, Pnom Penh (Cambodia) and many others.
About her work:
Lossau’s works are both: tour de force and a paradox: The artist finds clear motives to comment on open, ambiguous phenomena – i.e. those that are more likely to be obscure. She translates the state of complexity full of related aspects into a strong, almost iconic, imagery that, despite its inherent intricacy, proves to be accessible. In their immediate catchiness, these symbols – two basketballs in equilibrium on a basket, an hourglass without sand, a station clock with loose and fallen hands – are easy to grasp for everyone. But looking closely, the objects and compositions by Vera Lossau create an irritating insecurity. Although these objects and their everyday significance are known, but by a minimal change they fall into the realm of the uncanny. It is not surprising that Lossau often works with the means of collage, a method of composition based on displacement and decontextualization. (…) Lossau’s imagery could be described as a training ground for complex perception and thinking.
(Dr. Emmanuel Mir, 2018)
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