What else is the work of an artist but her expression of a view on the world? It is a form of communication in that sense.
The elements that we come across in the paintings of Josephine are of a non-figarative sort. Her paintings provide the viewer with signs, scribblings, on delicately coloured backgrounds. The letter-like drawings are quite deceptive in the way that they suggest writing, they give us the illusion of language without ever becoming comprehensible. Hence they become once again a world- wide- communicative system: if no one understands their meaning we are all equal in our illeterateness.
It may well be the cornerstone to the understanding of Josephine's work. We speak, yet we are not understood. We listen, yet we do not hear. Despite our immense efforts we are not ever capable of overcoming our shortcomings. This incapacity connects us with our predecessors, as well as with the people yet to come. It is an awareness of a comforting quality. The painting of Josephine can in this respect be appreciated as radiating an atmosphere of consolation.
Is it a pessimistic view? Not at all. Josephine’s way of painting reflects a vulnerability, a tenderness that we encounter in early morning surfaces: the fresh upheavel of agricultural fields, the face of rock., the raked pebblepath. These images form the background, the underlayment of our attempts to master the task of living, the basis for our interaction with our fellowmen. It is the earth, litterally, that we stand on, from which our action necessarily must emerge. It is all we have. Therefore Josephine transforms these images into the skin of her paintings. They adopt an almost tangible quality and become images one would wish to touch or stroke.
Onto this skin the paintings come to life, as little forms, line-peaces, concrete and strong but without any logical system or bonding. They are alone in their space on the linnen, yet combining with the other elements in powerful, sometimes forceful composition.
An artist never works alone. There are always lines pointing at past or contemporain influences. In this respect Josephine's work builds onto the tradition of Dubuffet, Tapies and other material-painters, as far as her handling of the linnen is concerned. In her paintings, especially in the writing, the use of signs, but also in the composition one could sometimes recognise the work of Cy Twombly. Whereas in the choice and treatment of her subject, the turn around of serious matter into a light, sometimes humouristic manner, one presumes the presence of Miro's spirit.
The authentity of Josephine’s paintings lies at the cross-roads of the lines before her, where she distilles her own pallet and extracts her particular spectre of forms, blending these in her particular way. Never a fashionable artist, not complying to the public demand. Josephine leaves space for the viewer to fantasize his and her own images , a quality that art has conquered over the past decades and that she does not want to relinquish. For the more complex reason that fashion exists only as fashion and never as a truth-like quality. If Josephine's work wants to communicate anything, it is that truth does not exist, that it will always be sought after but never found.
One had better look around, close, for example at the face of the earth surrounding his feet. It is there, it is a lot, it is beautiful and it is all there is.