DEUCE - drawers paint - painters draw
Curated by Jan-Philipp Fruehsorge- Fruehsorge Contemporary Drawings
& Im Büro: Kirstin Arndt
ERÖFFNUNG: FREITAG, 1. MAI, 18 UHR
AUSSTELLUNGSDAUER: 1. MAI - 13. JUNI 2009
The exhibition "Deuce" presents 7 international artistic positions in the field of tension between painting and drawing. "Drawers paint – painters draw" refers more to the flowing, constantly renegotiable boundaries between the two fields rather than a clear categorization that assigns particular artists to a specific medium or that exemplifies specific features of paintings or drawings with individual artists. All artists are represented in the exhibition both by paintings and works on paper: this allows the viewer an exciting situation of the comparative view in looking at differences and similarities in the treatment of materials and surfaces with the same subjects.
Colour, surface and lines in dialogue with each other, sometimes one dominating the other, means of expression; the composition strategies facing each other, undecided. When does the line become painting, the trace of colour become a mark in a drawing?
In addition, the exhibition creates - beyond the mere issue of media, whether on canvas or paper - in the broadest sense an encounter of gestural expressivity with artistic approaches that rely on the calming and balancing of the image components; Apolline and Dionysian principles meet.
Frank Badur’s (* 1944) canvases are pure painting, geometrically ordered colour fields. They refrain, unlike his paper works, from the use of the grid, the artist’s favourite means of composition, used to create a rhythm and as a contrapuntal strategy to colour and space. There is a clear geometric precision. Gauge and proportion of fields and strips that obey different temperatures. On paper, on the other hand: freely vibrating and strictly geometric lines in alternating dialogue.
Ronald de Bloeme’s (* 1971) at first glance abstract works draw their colour codes and structures from the surfaces of our consumer and commodities world: signs, packaging, and logos are condensed to colour-line rhythms. The canvases live from their highly refined surface treatment of matt and glossy sections. Similarly on paper, but perhaps with a greater freedom to experiment, and where Badur uses the grid, de Bloeme seems to apply brush strokes that contrasts the structured sections with a different texture.
Sophia Schama’s (* 1966) works also have these open-obscure links to reality: grass is painting is grass. In the painting of nature she also always questions the nature of painting. The undergrowth on film is an exploration of brushstrokes on terrain that is new to the painter. Translucent appearances that are close to drawings to the extent that they demonstrate the process of their "being created".
In the case of Mark Sheinkman (* 1963) painting and drawing appear to fall into one, the choice of media a question of the format rather than that of any other technical approach. In both fields, there is the same technique, the ground is treated with graphite, and subsequently the artist rubs sections out with the eraser again, but not creating additively but composing annihilation as a production process.
As with Sheinkman, Judy Millar (* 1957), this year representing New Zealand at the Venice Biennale, is anchored in a similar tradition of art-historical context. Again and again she poses questions about a composition and design logic intrinsic to the painting, while she problematises the limits of the pictorial image. And Millar is also employing an artistic process of toing and froing of adding and removing paint.
Robert Zandvliet’s (* 1970) drawings relate to paintings as preparatory studies and sketches. Quickly jotted down compositions and colour ideas in graphite and oil chalk, open in structure between landscape and abstract. Zandvliet states that he is interested in that moment of "tipping over" from figuration into abstraction, a form to be found, which, as de Kooning said, "a form that can withstand any content” ideally ".
Max Gimblett’s (* 1935) artistic repertoire ranges from geometric abstraction, references to symbolic elements such as the quatrefoil or skulls as symbols of vanity, to a strong calligraphic and gestural painting, which does not deny its reference to Asian spirituality. Gimblett’s work is always evidence of an energy discharge, with rapid brush strokes thrown down as powerful eruptions both on paper as well as on other media.Hamish Morrison Galerie