Corynne's profile
Corynne Ostermann was born in the western suburbs of Chicago. Raised by a musician father and an artist mother, she naturally gravitated towards the arts. She attended Interlochen Center for the Arts during high school summers and fleshed out a painting and drawing portfolio. Now living in Baltimore, Ostermann graduated Summa Cum Laude from Maryland Institute College of Art in 2013.
Working with banal symbols, words, and objects juxtaposed with moments of abstraction, recognizable images and objects, Ostermann creates grids, windows, and overlapping image structures that create a screen through which the picture is perceived. These filters are intentionally defunct, employing layers of transparency and overlap to suggest destabilized meaning and subjective response. The intersection of symbols and recognizable objects and moments of abstraction propose notions of fantasy, decoration, and the digital realm, as well as root the symbols in a nonexistent material and bodily plane.
In this newer body of work, Ostermann continues exploration of digitization and creation of pop cultural images of femininity. She is interested in the intersection of reality, digital reality, and hyper produced imagery through mainstream pop outfits (i.e., major record companies, advertising agencies, specific designers, etc.) and how these images create a communal dissertation of pop femininity to be consumed at rapid fire online and replicated in the real world through capitalism. Further, using decades-old images of pop stars, cheesecake pin-ups, dead princesses, or out-of-date imagery alongside contemporary pictures, the work invokes non-linear notions of time, nostalgia, and the future through compressed and collaged digitally-collected images.
Working with banal symbols, words, and objects juxtaposed with moments of abstraction, recognizable images and objects, Ostermann creates grids, windows, and overlapping image structures that create a screen through which the picture is perceived. These filters are intentionally defunct, employing layers of transparency and overlap to suggest destabilized meaning and subjective response. The intersection of symbols and recognizable objects and moments of abstraction propose notions of fantasy, decoration, and the digital realm, as well as root the symbols in a nonexistent material and bodily plane.
In this newer body of work, Ostermann continues exploration of digitization and creation of pop cultural images of femininity. She is interested in the intersection of reality, digital reality, and hyper produced imagery through mainstream pop outfits (i.e., major record companies, advertising agencies, specific designers, etc.) and how these images create a communal dissertation of pop femininity to be consumed at rapid fire online and replicated in the real world through capitalism. Further, using decades-old images of pop stars, cheesecake pin-ups, dead princesses, or out-of-date imagery alongside contemporary pictures, the work invokes non-linear notions of time, nostalgia, and the future through compressed and collaged digitally-collected images.
You have not yet created a curated collection!