Amanda Jahn (*1986) works across photography, painting, installation, and sculpture, using these mediums to examine the overlap between collective stories and personal experience. Her practice continually returns to the ethical and moral questions embedded in contemporary life.

Influenced by the language of popular media, her images are direct and vivid, often marked by saturated colour and a deliberate merging of photographic and painterly elements. A subtle, sometimes wry sense of satire runs through much of her work, inviting viewers into a conversation that is both visually immediate and quietly reflective.

In the series The Life of Pi, Jahn considers themes of survival and vulnerability, drawing loosely on the novel’s existential atmosphere. The works move through states of isolation and uncertainty, yet they ultimately gesture toward endurance and inner resolve. Gadi Beri Bimba, by contrast, turns toward the long shadow of conflict in Europe, addressing the ways historical violence continues to resurface. Rather than simply illustrating these cycles, the series asks viewers to confront them and to recognize their ongoing presence.

Jahns practice offers a pointed look at the conditions of contemporary life. Through her bold visual language and willingness to probe difficult themes, she encourages a deeper engagement with the narratives and tensions that shape our shared world.