Sven Ballenthin’s paintings are probably quickly labeled as erotic or even pornographic because of their motives in the public perception. The staff of his paintings seems to to give at first glance right and often it is young women in lascivious melancholy , languid poses. It is less about the animal such as a driving force that could all too quickly draw the viewers attention he should get involved not realizing it. But rather an illusory superficiality which is the vehicle for the deeper understanding of the existential being. By the scrape of the selfsame as it leads behind the incitement that seem to promise this curved body healthy . Since taste presupposes a dominant spectator who dictates what he likes and does not like , and this in , beautiful ‘and’ ugly ’ translated , this one in today’s society understood as universally valid forms - karnon was used by most observers as well is perceived .To create a balance within the painting has been further extended with rather ugly set pieces , so that the eye does not “elektieren” on the naked beauty can do “phallustieren” and forced the contrast of these two diametrically opposite ends of a beauty concept is to contrast them. Also is hereby prevented the provisions adopted it as the viewer to Duchamp :The observer for the 'victims’ of an 'aesthetic echoes ’ is standing in a position that is comparable with an amorous man or a believer, which automatically gives up his demanding ego and helpless subjects an enjoyable and mysterious compulsion. With the help of stereotypical aesthetic- emotional patterns of the viewer researching this upgrade and process the abundance of stimuli acting on it permanently . Also, this venture is to come to failure and ultimately to a standstill so that he completely naked and lost the subject of its consideration equivalent facing themselves and so a more optimal vessel forms around the inner vulnerability and disruption of the figures shown by Ballenthin felt. When he would consider his own being and not a complete stranger to him . Even stranger is that in all of us and even crouching to tie lurking around us. All of that is taken up in the paintings by Sven Ballenthin to the depths of existence and restlessness to portray describe without speaking. This Ballenthin feels at a particularly sensitive spot on : in the soul of today’s young desirable women are insecure at the same time disturbing distortion imposed by social behavior patterns and their relationship to their own bodies and their own sexuality and twisted it affects . The reasons for this are a generally increasing disharmony between inside and outside. Apparently they shamelessly imitate what is presented to them medially stereotypical lascivious poses and seductive games. They lose themselves on several levels of meaning , the dismembered in constant restlessness and simultaneous concentration of their self-perception and role identity , and they can always remain incomplete on after the loss of the center is suspected in a community outside of them. So they constantly to transcend between an “I ’m everything and nothing ” back and forth .This condition is expressed in a seemingly chaotic pattern of apparent dissolution and merger with the empty space surrounding it .Since not only the inner but also the middle way was lost there, no longer find the new composite physical manifestations so right in their proper place , and feeling out of place , fragmented, incomplete and grotesque. Similarly an identity crisis triggered by the dissolution of time and space boundaries , they float nearly lost their existence and writhe devoured at a breakpoint the ever escapes . There remains for them only the back swing on its own axis at the same time looking for support and to offer . It is quickly gaining the medial styled and made- over bill the already perceived as poor reality that only works today as a echoaler imitation of virtuality. And thus expresses the desire to please and to be desired , in the strangest bending and contortions of irrwitzigsten.
