Hansjoerg Dobliar
25 Feb - 24 Mar 2012
HANSJOERG DOBLIAR
Installation
25 February - 24 March, 2012
Hansjoerg Dobliar (1970, Ulm, DE) has been creating several groups of collages with the help of a unique procedure he developed since 2005. It involves reproductions taken from illustrated papers and magazines, not infrequently of an older provenience, whose nature and contents suit his intentions. The formats of these magazines hence virtually determine the measurements of the final pieces, with the artist occasionally opting for double-page spreads, joined up in a landscape format. But his "collage" process as such only rarely involves any actual gluing down of cut out materials on the reproductions selected. Instead Hansjoerg Dobliar mostly resorts to gouache, acrylic and gloss for over painting and transforming the printed black and white or color images. In some cases this can take the shape of selective interventions, for example in the pieces where a sprayed surface obscures a person’s face, or parts of his or her body, leaving the original motif recognizable. But in most instances his interventions with acrylic or gloss change the overall picture so extensively that a completely new, unexpected image content is revealed.
By Zdenek Felix
Installation
25 February - 24 March, 2012
Hansjoerg Dobliar (1970, Ulm, DE) has been creating several groups of collages with the help of a unique procedure he developed since 2005. It involves reproductions taken from illustrated papers and magazines, not infrequently of an older provenience, whose nature and contents suit his intentions. The formats of these magazines hence virtually determine the measurements of the final pieces, with the artist occasionally opting for double-page spreads, joined up in a landscape format. But his "collage" process as such only rarely involves any actual gluing down of cut out materials on the reproductions selected. Instead Hansjoerg Dobliar mostly resorts to gouache, acrylic and gloss for over painting and transforming the printed black and white or color images. In some cases this can take the shape of selective interventions, for example in the pieces where a sprayed surface obscures a person’s face, or parts of his or her body, leaving the original motif recognizable. But in most instances his interventions with acrylic or gloss change the overall picture so extensively that a completely new, unexpected image content is revealed.
By Zdenek Felix