Intense moments of perception with the subtleties and grandeur of nature —and they are often one and the same— are among the most potent and lasting archetypes of Beauty and Transcendence which we, citizens of the post-industrial world, still experience. These moments —a small flower blossoming, a spider web, a chrysalis, the arousal from sleep of hidden faunae, a call from an unseen and unknown animal in the distance, the scent of coming rain, among countless others— offer an inexhaustible source of inspiration.
“I want [the paintings] to have an old, modernist feel, but also looking at abstraction, not from a Greenbergian perspective… but from a nostalgic perspective… it’s adding a more personal perspective… the way we see an image is a little different than a generation before us… because of what media we grew up with.” – … Read More
Hannes Schmidt is doing some art defacing.
Sometimes when you dream, you know that you are almost awake and dawn is on its way and yet you get stuck in a nightmare that keeps on repeating itself. Images of different times spinning around your head in a frenzy, forcing you to go round in endless labyrinths of the past, sometimes dressed-up as … Read More
Mostly, though, paint functions as a medium of resistance for Ligon; it occludes visibility and threatens form. Nowhere is such deletion more explicit than in Untitled (Cancelation Prints) (1992 and 2003), where a flesh-coloured ‘X’ overtakes the entire white image field, demarcating the distance between the construct of whiteness and the pinkness of most European … Read More
Paintings may be pictures, but they are always objects. The blatant materiality of Sergej Jensen’s canvases made them seem part of the interior architecture of Neu’s gallery. Jensen has consistently had an ambivalent relation to the spaces in which he shows his work. Previously at Neu, he arranged mats on the floor that resembled his … Read More