My recent paintings draw from the formal language of logotypes, typography, signage, iconography and political & religious symbols, together with their shared purpose of explicit communication.
In it’s very DNA painting, the applying of liquid colour to a surface by various procedures, offers itself as the ideal means to create a purposeful exchange, where chance can engage with necessity and randomness with determinism.
My research focuses on building a structured image based on minimal elements of painting language and on sign, surface, full and voids relationships.
I use repeating, modular, geometric patterns to illustrate personal observations, philosophical theories, and psychological phenomenon.
I've been focused on monochrome, or single-color painting, since 1990. My work has consistently been about reducing forms to basic elements: structure, support, surface, materials.
I define my works as abstract genre scenes. The white works show the “Hic et nunc” feelings, and the black works flood in the time. Although both ones are silent and deaf.
My paintings are made from a variety of different materials: oil paint, oil stick and crayon together with collaged paper, wood and felt. The surface of the paintings is important.
When I first started making abstract paintings it became a sort of philosophical pursuit; I used reductive forms and flat colors to deconstruct the visual world...
My art? A material language! How long and how much listening was necessary to find in a thread and in its variants of color, of thickness, the personal medium of artistic expression.
The work is primarily about painting; it's nuances, it's faults and the way it's seen and made. I see paintings as signs -signs for everything that stands behind them, and for everything they point towards...
My work method is a relatively intuitive and open-ended process based on studio practice where I usually work on several pieces at once and the paintings inform each other.
My work expands outward from a central point of minimalism, into a world of texture, color, and material. I am interested in investigating the concept of space, boundary and the aesthetics. My works are representations of that exploration...
I work in a very repetitive and monastic way. I come to the studio every day, pretty early in the morning, and I work until evening. My practice is very time consuming and labour intense but it can be quite meditative so I enjoy it very much. New works come exclusively from the work itself and from my progress in understanding it...
My work examines the „bodyness“ and sensuality of materials and objects from daily life like easy fabrics, tiles, glass and wood. I also examine my environment, objects or bodies by taking photos, modelling with clay or taking moulds from body parts. What I also try to document with photography is atmosphere. My objects work like pictures but mainly as „persons opposite“. The objects creates a physical presence in the room and so the aspect of atmosphere becomes relevant again...
Marcel Duchamp’s works and ideas exert a strong influence on my work - specifically the moment that art begins to migrate from the eye to the mind. This relationship, the balance between the retinal and non-retinal, is apparent in chess, where the pieces stand as material shadows cast by the mental processes that drive the game forward. Duchamp’s chess activity feels to me like very powerful source material in this regard.
I am interested in language as a system which we use and which surrounds us. Words structure our thoughts and therefore our perception. Nevertheless there ist a immanent gap between the image and the word, between us and our surrounding. I create archaic paintings, signifier for this condition. These archaic, symbolic images preserve and highlight the interval between image and language. Others are more connected to system structures, flirting with power, or create signs we have to refill.
My work can be compared with the cinema theatre with lights on at the end of screening. This describes both the appearance of my work as well as how to me it reflects the contemporary reality. I make ghost-paintings. You can also call it painting with timecode. It combines on one surface the projected, performing image (ghost figure) and depicted space (stage), both of equal importance.
I’m not proficient in working with the computer or digital media. I draw my inspiration from simple structures that I find in urban settings and in nature. This might be a stair railing, the growth of a tree or a car sticker.
The most inspiring is life in general. Things I see, things I read about, things that happen to me. These things lead me towards making art.
I'm inspired by the way everything is connected with each other.
The most inspiring thing is the process of making art itself.
I work best under time pressure. I give myself deadlines all the time, but I never make it. Only the most important one - the last one.
What is fertiliser for your work? Honestly, it's just the materials themselves.
I get inspired by dirty walls, grime, torn posters, erosion, found colours and weather. I find going for walks and cycles the most interesting thing to do, there is so much out there to see and such discoveries provide ideas for myself to work from.
Growing up in Minnesota I spent time near the Canadian border. I'd like to return there someday, and make paintings of the landscape. Seeing the aurora borealis has had a lasting effect on me.
The fertiliser for my work? Movement.
When something must be done, I'm very focused on what I'm doing. That is how my work has taken new directions.
"My works are based on the aesthetic of predictable forms as an objectified form of expression. My aim is to discover a self-organizing structure that I can also shape through additions and reductions." Hagen Hilderhof
Andre Boitard uses a mix of cut-out images from all types of magazines and newspapers and a wide range of different materials he finds during his daily walks through the streets of Berlin for the creation of his unique collage compositions.
Like alien life forms the colors in Haure Madjids paintings grow and stretch over the canvas. These forms, inspired by European and Oriental ornaments, unfold a strong energy.
In Roberto Lauro’s watercolours, intersecting and complementary movements give visual form to complex musical compositions. Rhythms, sounds, and melodies are transformed into virtuoso pictorial compositions.
Friedemann Grieshaber is a German sculptor, living and working in Berlin and in the Allgäu region. Friedemann's artistic work is dealing with the interdependencies of space and body, figuration and architecture. The main materials he uses in his sculptures are concrete, steel and bronze.