Here, found objects derived from everyday life, from the junkyard or from nature are also frequently included, among these wire netting or certain rock formations, which reappear as reminiscences on the new pictorial surfaces. The works reflect Jenneßen’s particular interest in surface structures, which overlie the newly emerging pictorial surfaces like collage-style membranes. In his multiforms, Jenneßen develops entirely new compositional possibilities through the atypical treatment via the image processor. In doing so, he completely disrupts the laws of classical pictorial composition with the intention of making emotional phenomena more palpable. The dramatic line structures, richly glowing color fields and formal spheres of his medial works have a strong visual appeal. The leaking color formations and scrawled, frayed, or straight endless lines are aesthetically rooted in the artist’s conceptual approach.

In analogy to processes of nature, Jenneßen’s bodies of color constitute extraordinary entities, which are in a constant flux of nascence and emergence. Indeed, involved in a never-ending, open process, they challenge the viewers’ perception in entirely new ways. Are real forms to be found here or are we merely reminded of something, which we deemed to know? This ambiguity incorporates deviations and the element of surprise, and attempts to capture these in the pictorial composition. By channeling his sources into digital processes and by deliberately disrupting or giving free rein to the procedure, the artist subverts concepts of the predictable.