'In all her works we observe the observer, we experience an encounter that seems impossible, that of seeing the sensation of seeing and its apparent dissolution'
Painter, installation artist, printmaker and curator Caroline Rannersberger responds intuitively to her environment, referencing in particular the rhizomatic model of Deleuzian philosophy (Gilles Deleuze). This philosophy opens up a new way of ‘seeing’ the landscape through acknowledging that rather than one fixed viewpoint, landscape contains multiple and shifting points of connection across time and space. Rannersberger has explored these themes closely over the last ten years, in particular, through her research towards her Master of Visual Arts, with a focus on the sublime, and subsequently her PhD, with a broader emphasis on experience and sensation in the landscape.
Rannersberger’s work reflects the extreme forces of the remote regions she has experienced, across northern Australia and to the far south, as well as the alpine regions of Austria and Germany, where she was raised and educated. Foreboding mountains, rising from within vast oceans, all but crushed beneath the forces of impending storm clouds towering over the land. As such, working predominantly across paper and linen, Rannersberger’s multiple panel landscapes reference the sensations of her Tasmanian surrounds, elements of her north Australian experiences and her German heritage. Her work is in the collections of the National Gallery of Australia, The Museum and Art Gallery of the Northern Territory (MAGNT), and Artbank. She has been a finalist in numerous prizes, including the Glover prize, the Fleurieu Art Prize, the ABN Amro Emerging Artist Award, the Fremantle Print Award, & the Alice Prize.
'In all her works we observe the observer, we experience an encounter that seems impossible, that of seeing the sensation of seeing and its apparent dissolution. She attempts to capture that tremulous state, what Alain Badiou has called elsewhere, "the movement of disappearance", a disturbance not yet transformed into an object nor cast in negation as an absence, but rather the actuality of disappearance itself.' Professor Donal Fitzpatrick, 2012
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