The arsenal of figures by Alexandra Vogt (*1970 in Mussenhausen, Germany) are made up of mythical, sexual, animal people and horse maidens, all of them lost, wounded, or forgotten. Together with the latent, torturous conflicts, rituals, and entanglements involved in mainly female adolescence, they form the center of her occasionally ironic, fragmented romanticism. These are images that oscillate between idolatry and distancing, projections and deconstructions.
Vogt’s oeuvre refers to her own time and place, and-on a level of interpretation that is difficult to grasp entirely-to something premodern. Her works, most of them previously created in a kind of obscurity, are surprising in the great artistic autonomy of her visual vocabulary. Vogt’s paintings and photographs are being published for the first time in this comprehensive overview.