Christian Hoischen
03 Jun - 29 Jul 2006
Christian Hoischen
Eigenartige Geschäfte und Johnny im Wachkoma
June 3 - July 29, 2006
Opening: Friday, June 2, 7 - 9 pm
Übergriffig oder: Ein Plädoyer für den Genitiv
With their robust beauty, Christian Hoischen's new paintings seem to eloquently talk about their material genesis as well as their figurative content. They reveal, however, far less than a first glance might suggest. Hoischen stretches a shielding skin between the painting and the viewer which allows for the traces of his energetic act of painting to shine through, but seal off anything tactile. Hoischen generates this tension between the smooth surface and the underlying activity by employing a unique technique: the paint is applied onto a layer of transparent Epoxy resin which is then, with the paint-side down, mounted onto sheets of polystyrene. In doing so, the marks of painting, splintering and scratches as well as the material structure of the polystyrene are accessible to the sense of sight alone.
Diverging forces also operate at the paintings' formal level. As does the contrast between the soft surface and the underlying, rough and broken layers of paint, these forces do not cancel each other out, but reinforce and boost each other: the paintings combine and give equal weight to both figurative and abstract elements. While the figurative ones display a bounty of painterly virtuosity, the abstract ones unveil, with their reduced visual language on large transparent areas, the very illusion of representation. Although the viewer is drawn towards and seduced by the narrative potential of the images, which are derived from media such as the press and advertisement, their essence remains obscure. With their mood ranging from latent sensuality to open violence they mirror the broad variety of Hoischen's painterly approach: treating its subjects with careful detail as much as with disrespectful vehemence.
Although it is tempting to take the representational elements as key to the works, they are, in fact, not of overriding importance. Hoischen destabilises their authority by reverting to fragments of the original images only, by rotating them and by foregrounding minor details such as sparkling wine glasses, rough leather or the draping of a dress. Even though people appear in some of the paintings, one cannot meet their eyes. Their faces have been cropped or obliterated by the hand of the artist, thus building up further distance and reminding the viewer that, beyond the captivating story that is hinted at, he or she is looking at a painting.
Despite their manifest appearance, the works by Hoischen demand conscious perception and reflection. The gaze is easily seduced by the beauty and the eeriness of the paintings' imagery, and yet, even the smallest and most discrete painterly trace asks for and deserves the beholder's full attention.
Text: Astrid Mania
Eigenartige Geschäfte und Johnny im Wachkoma
June 3 - July 29, 2006
Opening: Friday, June 2, 7 - 9 pm
Übergriffig oder: Ein Plädoyer für den Genitiv
With their robust beauty, Christian Hoischen's new paintings seem to eloquently talk about their material genesis as well as their figurative content. They reveal, however, far less than a first glance might suggest. Hoischen stretches a shielding skin between the painting and the viewer which allows for the traces of his energetic act of painting to shine through, but seal off anything tactile. Hoischen generates this tension between the smooth surface and the underlying activity by employing a unique technique: the paint is applied onto a layer of transparent Epoxy resin which is then, with the paint-side down, mounted onto sheets of polystyrene. In doing so, the marks of painting, splintering and scratches as well as the material structure of the polystyrene are accessible to the sense of sight alone.
Diverging forces also operate at the paintings' formal level. As does the contrast between the soft surface and the underlying, rough and broken layers of paint, these forces do not cancel each other out, but reinforce and boost each other: the paintings combine and give equal weight to both figurative and abstract elements. While the figurative ones display a bounty of painterly virtuosity, the abstract ones unveil, with their reduced visual language on large transparent areas, the very illusion of representation. Although the viewer is drawn towards and seduced by the narrative potential of the images, which are derived from media such as the press and advertisement, their essence remains obscure. With their mood ranging from latent sensuality to open violence they mirror the broad variety of Hoischen's painterly approach: treating its subjects with careful detail as much as with disrespectful vehemence.
Although it is tempting to take the representational elements as key to the works, they are, in fact, not of overriding importance. Hoischen destabilises their authority by reverting to fragments of the original images only, by rotating them and by foregrounding minor details such as sparkling wine glasses, rough leather or the draping of a dress. Even though people appear in some of the paintings, one cannot meet their eyes. Their faces have been cropped or obliterated by the hand of the artist, thus building up further distance and reminding the viewer that, beyond the captivating story that is hinted at, he or she is looking at a painting.
Despite their manifest appearance, the works by Hoischen demand conscious perception and reflection. The gaze is easily seduced by the beauty and the eeriness of the paintings' imagery, and yet, even the smallest and most discrete painterly trace asks for and deserves the beholder's full attention.
Text: Astrid Mania