Born in East Germany prior to the collapse of the Berlin Wall, Super Future Kid's artistic endeavours are influenced by pop culture elements, including video games, music, early internet culture, and toys from West Germany following reunification. An instance of note occurred with the two-persons exhibition entitled A Walk in the Park (Mindy Solomon Gallery, 2021), featuring the works of Super Future Kid and Yvette Mayorga (b. 1991-), was recognised among Artsy's curated selection of a ‘Standout Shows to see during Miami Art Week’. Her work has been featured in leading galleries all over the world, such as Tang Contemporary Gallery (Hong Kong, Beijing, Seoul, Bangkok), Over the Influence (Hong Kong, Los Angeles, Bangkok, Paris), and Koenig Galerie (Berlin, Mexico City, Seoul). The artist made her introduction to Korea in 2023 via participation in the group exhibition titled Narrative Alters held at Gana Art Nineone. She is set to present seven new paintings in this showcase, marking her first solo exhibition in Korea.   Super Future Kid's artistic style is distinguished by the bold and vivid use of colours, particularly alongside playful characters set against surreal backgrounds. Her work blurs the lines between reality and imagination, often evoking a sense of nostalgia reminiscent of anime from the latter half of the 20th century, while also incorporating elements reminiscent of science fiction cartoons. This unique artistic approach is deeply rooted in the artist's childhood experiences. Born in communist East Germany, Super Future Kid witnessed the fall of the Berlin Wall in 1989, a significant symbol of the Cold War era. Having spent the first eight years of life isolated beyond the wall, the sudden introduction of new technologies and vibrant consumer culture following reunification profoundly influenced the artist's perspective and serves as a key inspiration for her work to this day. The vibrant colours and whimsical characters found in Super Future Kid's art bear resemblance to the works of American Pop Art maestro Kenny Scharf (b. 1958-), who developed a unique artistic language drawing from her own childhood experiences. Scharf playfully navigated the realms of fine art and pop culture, much like Super Future Kid, using her artistic expression to bridge these domains.   Super Future Kid's artistic inspiration is apparent in her earlier works, where she employed a technique of collaging characters or figures sourced from diverse media, crafting pieces in which the central character is a reinterpretation of these elements. For instance, the series Smells Like Teenage Armpit (2019) portrays everyday scenes of adolescence, incorporating nostalgic motifs like games and sweets, reflecting the enduring childlike essence within the artist. However, as Super Future Kid progressed in her artistic journey, she encountered the limitations of relying on pre-existing references to conceptualise her works and sought to explore new creative avenues. More recently, she has approached the canvas as a medium for delving into interpersonal relationships and her own evolving identity in the present, moving beyond the realm of visualising childhood memories. For instance, in the series Moonrise Sisters (2023), the artist metaphorically compares the enduring love shared between her grandparents to that of a pair of twin sisters, exploring themes of connection and intimacy. In the new works showcased in this exhibition, Super Future Kid expands the scope of her exploration to contemplate the inherent value and significance of humanity itself.   The title of this solo exhibition, Sternenstaub, translating to "stardust" in German, encapsulates the thematic foundation of the artist's new series, which is a fundamental component of the universe.[1] "That everything will break and crumble at some point, creatures, buildings, mountains, even stars." In the artist's words, the underlying idea of the new series is that all entities are subject to eventual decay, and become part of the stardust that makes up the cosmos. Central to her new series are human figures whose physiques evoke the imagery of cracked and broken concrete. The artist uses the imperfect material of concrete to convey the fragility and limitations of the human body, contrasting it with the traditional notion of bone and flesh. Despite this imperfection, the figures depicted exude calmness and strength, engaging in activities like archery and leisurely walks, symbolizing a resilient will to live. Moreover, the artist placed small symbols representing different aspects of the human experience alongside the human body, such as love, nature, laughter, luck, etc. Through these elements, she imbues the concrete-bodied figures in her paintings with a sense of humanity. This gesture highlights the artist's warm gaze and fondness for humanity.    Instead of cynically looking at human beings as mortal beings, Super Future Kid's artwork explores the hidden significance of life and defining characteristics that distinguish humans from other beings. In the current era, as humanity ventures into realms that transcend traditional human limitations—such as enhancing bodily capabilities, extending lifespan, and living in digital environments—there arises a profound sense of uncertainty regarding identity. With the boundaries between human and post-human, life and death, flesh and concrete becoming increasingly blurred, Gana Art hopes this exhibition to serve as a meaningful platform for contemplating the essence of humanity and what it means to be human.
   [1] The Oxford English Dictionary states that the term 'stardust' was initially employed in 1836 within the British literary magazine 'Literary Gazette'. 'Stardust' is formed by merging the words 'star' and 'dust', signifying the entirety of the particles originating from a star. Astronomer Carl Sagan (1934-1996) generalised the concept that all existence begins and ends in his book 'The Cosmic Connection'.   "The fate of individual human beings may not now be connected in a deep way with the rest of the universe, but the matter out of which each of us is made is intimately tied to processes that occurred immense intervals of time and enormous distances in space away from us. … All of the rocky and metallic material we stand on, the iron in our blood, the calcium in our teeth, the carbon in our genes were produced billions of years ago in the interior of a red giant star. We are made of star-stuff."    Sagan, Carl. The Cosmic Connection. New York, New York: DELL PUBLISHING CO., INC., 1975, p149.