“Jasmin Genzel is not a member of a specific movement in art. She goes her own way. Of course we can find some artistic developments having influence or being a source for inspiration. Her works show the approach of the Arte Povera, Conceptual Art and maybe some ideas of Joseph Beuys. Jasmin Genzel is typically an artist with her roots in the late twentieth century.
There are some interesting contradictions in her work. Looking at her work the viewer will always be very conscious about the materials. As a printmaker she uses paper and textile. In her woodcuts she uses rough pieces of wood making stamps with it. At the same time her work is very conceptual. The viewer will have the feeling there is a philosophic way of thinking inspiring the artist as a craftsman. It makes her works both poetical and philosophical.
There is a special fascination for things used as a humble container, vessels and ‘Bandana’s’. (…) Going back to basic things is important for Jasmin Genzel. Things are shown in such a way that it is clear and at the same time a mystery. But shown in an exhibition installation or in a series on a wall it has some poetical power, the power of a whispering artist.(…) 
It is important to take time to look at these works, not only for the appearance, but also for the intention and the atmosphere. Considering her works that way can be very rewarding. You can find new meanings and ideas as a source for new poetry.”
Michael van Hoogenhuyze, Leiden, October 2015

“Jasmin Genzel lavora ad un atlante visivo composto da gesti minimali, in cui sottrarre ha più importanza del porre. ‘A forza di levare’ potrebbe essere il titolo per questa introduzione e in generale per il suo lavoro; è operazione mentale quella che permette di lavorare sulla sottrazione di cui resta visibile lo scarto, una traccia forte che è innanzitutto segno del percorso dell’artista. E’ il crinale tra pensare e agire quello che le sue opere comunicano e rivelano; il bilanciamento delle spinte contraddittorie di chi lascia un segno pur consapevole della fragilità dell’esperienza del fare.
Esperta e amante delle tecniche artistiche tradizionali la Genzel segue nei suoi media – acquerello, serigrafia, disegno – la poetica dell’informe in declinazione ‘al femminile’. E’ la visione contraddittoria ad emergere, la tensione tra la costanza e la forza di un pensiero e la sua applicazione come segno, come gesto che lascia traccia. Questa traccia è ciò che resta di visione oniriche o dell’ispirazione di classici della letteratura occidentale (Salmi di Davide, 2006).
Lieve e forte, suggestivo e neutro il segno della Genzel richiede tempo e sospensione dal ritmo incessante del nostro comune fare; presuppone una sospensione che permetta di guardare e infine di vedere, realizza infine quel Denkraum che ci permette di vedere l’emozione del segno. “

“Jasmin Genzel works on a visual atlas composed by minimal gestures, where subtracting has more importance than the posing and placing. ‘By force of uplifting’ could be the title of this introduction and in general to her work; it is mental operation to permit working on the drawing thus leaving visible the refuse, the strong trace by being most of all sign of the course of the artist. It is the ridge between thinking and acting that her work communicates and evokes; the weighing of loads from the contrary pain left by whom is even conscious of the fragility of the experience of doing so.
Expert and lover of traditional artistic techniques Genzel follows in her medium – acquarelle, serigraphy, drawing – the poetry of the informal in declination to the ‘feminine’. It is the contradictory vision to emerge, the tension between the constancy and the force of a thought and it’s application as sign, as a gesture leaving a trace. This trace is what remains of the oneiric vision or the inspiration of the classics of occidental literature (Psalms of David, 2006).
Light and strong, suggestive and neutral the sign of Genzel demands time and adjustment of the incessant rhythm of our common reasoning, requiring a suspense, which allows looking and in the end to see, realizes finally this Denkraum allowing us to see the emotion of the sign.”
Benedetta Cestelli Guidi, Roma October 2006

“Jasmin Genzel a une approche informelle de l’art, tant dans la peinture que dans les diverses techniques d’estampes qu’elle utilise. Son univers est éthéré et élégant, ses gestes intuitifs et emplis de spiritualité.(…)”
“Jasmin Genzel has an informal approach to art with painting as well as with the various printing techniques she uses. Her universe is ethereal and elegant, the gestures intuitive and imply spirituality. (…).”
Jean-Paul Aureglia, Galerie Qvadrige, Nice, 2006

“Olio e acquarello
(…) giocando tra la corposità del pigmento ad olio e la leggerezza delle sovrapposizioni trasparenti dell’acquarello. Misurandosi contemporaneamente tra le diverse sensazioni che scaturiscono dai due medium, l’artista si muove costantemente nell’ambito dell’arte astratta, prediligendo un approccio informale tra il segnico e il gestuale.
Dalla necessità di comunicare uno stato emotivo interiore il gesto viene guidato quasi fosse il prolungamento del pensiero che gli fa da guida. Un rapporto empatico lega quindi le linee astratte e i pattners cromatici con le sensazioni originarie.(…).”

“oil and aquarelle
(…) Measuring the self contemporaneously between the diverse sensations emerging from the two mediums the artist moves constantly in the domain of abstract art and prefers an informal approach to the sign and the gesture.
From the necessity to communicate an interior emotional state the movement is guided as if it is the prolongation of the thought directing.
An empathic relation connects abstract lines and chromatic patterns with the original sensations.(…)”
Zelda, Art Historian, Rome, March 2005

“(…) the decision to come to a form originates as well as it is the content of the work: intuition and spirituality. It brings forth work, which is difficult to express in words (…)”
Michael van Hoogenhuyze, The Hague, June 1996

“L’enveloppe vide
Parler de son propre travail pour un artiste signifie expliquer la relation entre lumière et réflexion, donc notre perception mène par conséquence à la formulation de la pensée. L’itinéraire transfiguratif d’une notation de couleur par un timbre et sa métrique devient un jeu pour l’artiste. Le moment entre la possibilité, la probabilité et les faits donnés correspond à une recherche de l’horizon de la portée d’une émotion. La suggestion d’une promesse par une distance et d’une perspective est évoquée selon le terme de Goethe, par des “Klangfarben”. Désignant un geste impulsif et original mais conditionné d’un romantisme, par la méthode et la répétition du geste permet à l’image hermétique de l’intuition et de l’expression d’un geste de devenir conscient et rend ainsi possible une interrogation sur le motif d’une forme sans contenue donc est une enveloppe vide.”
Jasmin Genzel, exposition ‘l’enveloppe vide’ at Saint-Raphaël, France in 2009