Oliver Minder
23 Jan - 12 Apr 2015
OLIVER MINDER
High-End-Natural
23 January - 12 April 2015
While his first solo exhibition Oliver Minder (*1980, Basel) will show new, sometimes very large, multi-part works at the Kunsthaus Baselland. Since several years he realizes special “paintings”, for which he uses diverse, often unusual materials such as sepia ink, dark animal skins or birch sap. These materials, depending on the carrier and light, an amazing effect. In addition to the aesthetic charm of for painting untypical materials the questions about our use of natural resources as well as socially relevant aspects are focused by Minder for a long time.
At the Kunsthaus Baselland Oliver Minder shows in the first room a specifically for the high wall at the entrance developed large-scale new work <Untitled (Curtain)> (2015). 13 liters sepia ink has been used and were painted on polyester in several layers by the artist. The leached salt crystals and the different density material accumulations become visible – one moves in front of the picture – depending on the lighting conditions and viewing angles. Even the smell of Sepia is present depending on the distance to the painting. Sepia ink and their different effects on various surfaces and substrates such as polyester, canvas or large wooden panels interest Minder since his student days. So it makes a difference for the drying process whether the ink is pure or diluted, mixed with binder or varnish. Also the light transmittance changes its surface structure, depending on the paint application, density and top. This is clearly shown in the two large, multi-part work ‘Untitled (Sepia and paint, I)> and <Untitled (Sepia and paint, II)>, where large amounts of sepia ink were paint over the surface and were involved jnto the different drying process of the two materials.Minder admits the material to its peculiarities, to flow the paint to collect at one point, throwing in the drying wrinkles. On the timber carrier or even in the small format works he produced times opaque, sometimes translucent effects.
A book in collaboration with his colleague David Bergweger is published.
High-End-Natural
23 January - 12 April 2015
While his first solo exhibition Oliver Minder (*1980, Basel) will show new, sometimes very large, multi-part works at the Kunsthaus Baselland. Since several years he realizes special “paintings”, for which he uses diverse, often unusual materials such as sepia ink, dark animal skins or birch sap. These materials, depending on the carrier and light, an amazing effect. In addition to the aesthetic charm of for painting untypical materials the questions about our use of natural resources as well as socially relevant aspects are focused by Minder for a long time.
At the Kunsthaus Baselland Oliver Minder shows in the first room a specifically for the high wall at the entrance developed large-scale new work <Untitled (Curtain)> (2015). 13 liters sepia ink has been used and were painted on polyester in several layers by the artist. The leached salt crystals and the different density material accumulations become visible – one moves in front of the picture – depending on the lighting conditions and viewing angles. Even the smell of Sepia is present depending on the distance to the painting. Sepia ink and their different effects on various surfaces and substrates such as polyester, canvas or large wooden panels interest Minder since his student days. So it makes a difference for the drying process whether the ink is pure or diluted, mixed with binder or varnish. Also the light transmittance changes its surface structure, depending on the paint application, density and top. This is clearly shown in the two large, multi-part work ‘Untitled (Sepia and paint, I)> and <Untitled (Sepia and paint, II)>, where large amounts of sepia ink were paint over the surface and were involved jnto the different drying process of the two materials.Minder admits the material to its peculiarities, to flow the paint to collect at one point, throwing in the drying wrinkles. On the timber carrier or even in the small format works he produced times opaque, sometimes translucent effects.
A book in collaboration with his colleague David Bergweger is published.