Agnes Fuchs refers in her painting precisely to the intersection between a visual vocabulary of analog technical devices and their futuristic or utopian potential. Pictures of technological machines from the archive of her father or filmic scenes from early James Bond films are translated into a minimal language of painting that symbolizes the symbolism of the superiority of scientific laboratories. The machines and apparatuses in Fuchs’ images translate both the analog character of mechanic processes from past decades as well as their picturesque qualities to the canvas. Fuchs’ explores in her image however not the supposed absoluteness of research, but also our belief in the truth of media images, whose content is especially often examined by art. Here, current painterly practice is applied, where the task consists in reacting with classical techniques of depiction to images pre-formulated in the media and the resultant positioning of the individual.
Her works have been on view at Galerie Stadtpark, Krems (2004), Studio der Neuen Galerie Graz (2007), and Landesmuseum Ferdinandeum, Innsbruck (2005)