Mark Lammert, beauty is booty
In our third solo-exhibition with the Berlin based artist Mark Lammert we present two bodies of work. On the one hand they are drawn adaptions of encountered, as well as created configurations of bodies in space, and on the other hand they illustrate examinations of the relationship between lines and color and surface, as abstract elements of this dialectic arrangement.
The first set of drawings were produced since 2006 examining the anatomical collection of the Musèe Fragonard in Paris, which resemble scientific studies. Mark Lammert deals with the animal specimen through investigation and observation, which were arranged after an today unknown system and marked with colors. His representation of these bones are reminiscent of archaeological sketches of discoveries, but they also celebrate and intensify the amazing colors on the bonestructures. Partly Lammert would document the information (for instance colors) by writing the name of the color on the paper. The works are situated on a thin line between material presence and reflections on physical evanescence.
The second body of works links to the first. Next to drawings and the paintings Mark Lammert has for many years worked intensively at theatre productions. He staged a great number of scenes, among others with Heiner Müller, Jean Jourdheuil or Volker Schlöndorff. Mark Lammert also created the stage and the costumes for the Aeschylus play "The Persians", directed by Dimiter Gotscheff that was performed 2009 in Epidaurus. However, the works that emerged in this context are no "classical" costume sketches, but drawings that have their origin in other interests. They can be seen as a continuation of the anatomical Studies. They are similarly considering the body, space and color. One can spot layers of fabrics in different colors, which are winded around body parts and engulf each other. The color fields, primarily bluish and reddish, are not indicating a textile texture or surface, but seem to preserve their autonomy as an aesthetic sign. The actor's bodies, hidden under the colors, are just marked by minor indications and are more absent than present as a negative volume.
The drawings of both groups of works are placed on hand-dipped solid textured paper, which encourages the tactile experience of the works. A very accuratly drawn grid, between paper and drawing, serves as an intermediate ground, at which the viewer is able to orientate himself, while optically sensing the body parts, similar to following coordinates in space. Although Mark Lammert is approaching the objects with a lucid view of investigation, precise and analytical, his approach is unquestionably an artistic one. He sets up the rules for the object and his perception of them. He captures the beauty of a moment or detail and transforms it into a new esthetic order. The result is a very basic remains, a trace of our physical existence on the very base of this transformation into art.