Janine Kuehn has always had a thing for beauty and aesthetic. With a background in visual editing, styling and theatrical make-up, also her art is based on amplifying allure. Kuehn has developed a distinctive style, which the artist herself describes as sensual, dreamy and as a combination of fine art and photography capturing the weirdness of the world. The results of Janine’s approach are images close to perfection with a glimpse of amazement radiating a feeling of mysticism.
When creating, the Berlin-based artist has a certain vision in mind, which she fulfills in the first step with photographing her motifs, then looking for emotional expressions to playfully develop them further and extensively editing details and colors of the image. What looks like the perfect picture to the viewer, actually is developed out of lot of spontaneity, Janine Kuehn explains her process, to which the apparent perfection is added in a final cleanup.
The work BONJOUR stands for Janine Kuehn’s distinctive style. Each edition is personalized by the artist herself by changing the color nuances of the background from a dreamy lilac to a soft red. BONJOUR is exclusively available on misa.art in an edition of 100.
What was your first encounter with art and what made you want to become an artist?
I have always been interested in styling and fashion photography. During my time in the theater, when I was working as a makeup artist and stylist, I focused a lot on the connection between costume and makeup, but also set design and lighting. Photography and image editing - capturing a mood - were then added as final elements of my artistic work.
What three words would you use to describe your work?
Sensuality, presence and perhaps dissonance.
Your photography is close to perfection. What role does spontaneity play in your work?
Spontaneity plays a big role, especially in the beginning of the process - in a double sense. My first photographic attempts were very improvised and "low budget", so that even from the beginning a lot of flexibility was required in dealing with the circumstances. Over time, I actually made this scarcity my principle, which requires a very technical approach, but also cannot and would not really do without chance. That's why I prefer to work with natural light instead of studio light, because it allows for more spontaneous moments. The apparent perfection comes in a final cleanup. Planned perfection bores me.
What does your artistic process look like, from brainstorming to the finished painting?
That varies greatly and can only be said in relation to one individual work. But music, emotion and a creative flow are always central: in the beginning I always have a rough idea of the motif, the look, a desire for a certain color palette and then let myself be guided by the inspiration. I definitely give the model directions, but ultimately, I then try to follow the movements. Subsequently, I look for particularly strong, emotional expressions to playfully develop them further and further. Because I sometimes return to some works much later, many images combine different moods and emotions. All this and especially the final color scheme also always has to do with the music I listen to while working or preparing.
What vision stands behind your work?
I like the strangeness in the world and the weirdness of people and things that makes it like that. These I try to work out and capture.