![]() What we see in Schwer’s work is, in a way, the creation of painting out of the non-painting. Only rarely does actual painting play the main part, but everything in his universe is – to varying degrees – arranged in a painterly way. (…) Schwer’s materials are usually found in a technical, industrial context (racks, fluorescent lamps, Perspex, polystyrene-hard foam), but are repurposed in his hands in order to generate a poetic buoyancy and softness, fluctuating between constructive stasis and rapid dynamics. That everything flows past, everything is subjected to an instantaneous elusiveness and fragility. One could also say: Paul Schwer’s approach to painting wants to record that ultimately nothing can be recorded. In his painting-related concepts, Schwer deals with moments of retinal perception, and with the transformation of such moments into pictorial constellations in which the elusiveness of this perception manifests itself. As the observer moves, the fine textures of the colour fields, the directions of the strokes, and individual colours’ attributes reveal themselves, and it is only during this process that Janssen’s feedback loop between painting and drawing announces itself.įor nearly twenty years, Paul Schwer has been working in the expanded sphere of the supreme field of art that has been pronounced dead over and over again: painting. The adroit, subtle colour nuances appear to respond to the changing position of the viewer, and the resulting change of light. The paintings chosen for the exhibition are constructed by dividing the image into distinct white, grey and black surfaces, which generate a corporeal confrontation with the viewer. In his large-format oil paintings, gesture plays a less distinct role. He combines these with his working traces to produce the final image. He draws with dark Siberian chalk, which he guides along a ruler using hard strokes, forming structured surfaces and grids. His visual language in both mediums brings together a strict image composition and a spare, restricted range of colours. The Dutch artist Arjan Janssen makes paintings and drawings, masterfully oscillating between each discipline. The artist herself describes the suggestive spatial impact of her large-format works thus: “The pictures appear to be inwardly breathing…it is like one is physically immersed into the picture.” (Marina Schuster, Museum Kunstpalast, Düsseldorf) Her works fascinate through a masterly perspectival interplay between pictorial foreground and background, through the continual dialogue between colour and form. Some of her works, which oscillate between transparency, delicately coloured glaze layers, and condensed, opaque colour surfaces, generate a kind of floating sensation. Dialogues between pastel tones and assertive colour-fields, line-structures reminiscent of chirographic script, fragile grid-fields, and circular shapes with cell-like connecting lines form the essential artistic formal vocabulary of her painting practice. ![]() Hassinger’s works display a subtle interplay between opacity and lucidity, and utilise pictorial signs that emerge through colour and shape, colour and line, shape and anti-shape. ![]() In "", painting, sculpture and installations are combined, thereby opening up visual as well as conceptual spaces in and around the artworks.įor Sybille Hassinger, colour and light are among the most important considerations when she’s searching for images to base her paintings on. In these works, light itself becomes colour. Light, which grants us access to sensory viewing experiences, is an important part of site-related works. At first, we might still believe we are encountering a flat panel painting, but on closer inspection we are confronted with an entirely different materiality, in which colour and carrier material develop with each other.Įven as an installation, we still experience painting in the exhibition, but it is floating in space, on a paper-carrier, or as a high-gloss, architectural intervention. Here, and in direct contradiction to the title, we are presented with austere black and white, or situations in which the colour is applied to carrier materials other than canvas. The exhibition, "" contains paintings, not only in the form of the traditional panel painting that we might expect. An inseparable trinity, that is, if we reduce all five senses to the single sense of sight.
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