NEW WORK
PAYGAL (2024)
This new diptych PayGal (2024), confronts you one self-portrait completely natural with no makeup or photo retouching, the other with makeup and digital retouching. In both photos, I have my PayPal QR code in my mouth.
Now, when you are pointing at this work with your smartphone in order to take a photo of my artworks for yourself, wether for your camera roll, wether to secretly make a print, wether to share the image on social media, even before the camera captures, you will be directly linked with my pay pay account and you can send me money, deciding for yourself how much this woman artwork product is worth for you to copy.
PayGal (2024)
Self-portrait, photograph
2 x 40 x 60 cm, 15.74 x 23.62 in (unframed), edition 7 + 3 AP
2 x 60 x 90 cm, 23.62 x 35.43 in (unframed), edition 3 + 1 AP
THE PEFECT WOMAN IS A LIE (2023)
In 2006, I photographed the iconic image The perfect woman is a lie.
In 2023, 17 years later, the perfect woman was still a lie.
The Perfect Woman is a Lie (2006, 2023)
Self-portrait, photograph
40 x 60 cm, 15.74 x 23.62 in (unframed), edition 7 + 3 AP
60 x 90 cm, 23.62 x 35.43 in (unframed), edition 3 + 1 AP
R U ON IG? SELF-PORTRAITS WITH MASKS I - VI (2024)
In this new series, R U ON IG? SELF-PORTRAITS WITH MASKS I - VI (2024), Susanne Junker explores the phenomenon of the worldwide use and rise of emoticons in our digital world, which is present at all levels of different social structures. She takes an anti-AI approach by analogizing the emoticons, printing them on paper, cutting them out, and using them to create masks on her own face. Each mask carries a theme and a conversation. No matter where you come from, we all speak the same emoticon language in our daily communication. The masks cover Susanne's entire face, leaving only her bare neck to represent herself in this self-portraits series.
R U ON IG? SELF-PORTRAITS WITH MASKS I - VI (2024)
Self-portraits, photographs
50 x 70 cm, 19.69 x 27.56 in (unframed), edition 7 + 3 AP
Figure for the Base of a Crucifixion #25 (2023)
I have been working on how we communicate and the personas we assume on social media. I use emoticons and excerpts from pornographic sexting text messages, which I print out and then stick on my body, transferring them from the digital to the analog. They represent individual statements or, when combined, form entire sentences and commands. At the same time, the real body becomes a mere figure and projection surface, and the claimed maximum intimacy turns into unbridgeable strangeness and interchangeability, culminating in the expression of an almost shattering forlornness.
Figure for the Base of a Crucifixion #25 (2023)
Self-portrait, photograph
50 x 70 cm, 19.69 x 27.56 in (unframed), Edition, 7 + 3 AP
Figure for the Base of a Crucifixion #27 (2023)
I have been working on how we communicate and the personas we assume on social media. I use emoticons and excerpts from pornographic sexting text messages, which I print out and then stick on my body, transferring them from the digital to the analog. They represent individual statements or, when combined, form entire sentences and commands. At the same time, the real body becomes a mere figure and projection surface, and the claimed maximum intimacy turns into unbridgeable strangeness and interchangeability, culminating in the expression of an almost shattering forlornness.
Figure for the Base of a Crucifixion #25 (2023)
Self-portrait, photograph
50 x 70 cm, 19.69 x 27.56 in (unframed), Edition, 7 + 3 AP