NEW WORK
PAYGAL (2024)
This diptych, PayGal (2024), confronts you with one self-portrait completely natural—no makeup or photo retouching—the other with heavy makeup and digital retouching. In both photos, I have my PayPal QR code in my mouth. Now, when you point at this work with your smartphone to take a photo of my artwork—whether for your camera roll, to secretly make a print, or to share the image on social media—even before the camera captures it, you will be directly linked to my PayPal account. You can then send me money, deciding for yourself how much this woman-artwork-product is worth 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
FIGURE FOR THE BASE OF A CRUCIFIXION # 28 (2025)
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 15 + 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 #27 (2023)
Self-portrait, photograph
50 x 70 cm, 19.69 x 27.56 in (unframed), Edition, 7 + 3 AP