Patrick Schmierer
12 Jun - 31 Jul 2010
PATRICK SCHMIERER
1Man, 1Ball
12 June - 31 July, 2010
The exhibition represents the way of artistic work, where the artist's objects and paintings (despite of the fact that they seem only to be half ready) show their relative completeness. Besides the process, due to the used material's physical features, the artist makes a reference to Malevics's abstract works made in the period of supermatism interacting with the concept of contructivism.This evolved irony is the basic feature of Schmierer's works.
The irony evolved from this kind of contradiction is typical for Schmierer's puritan looking, but incredibly rich referential works: by Malevics's planits and architektons, the 50's paint-weeping, splattering gesture-painting works, the works of Joseph Albers and the conception of the 70's capitalist and anti-capitalist revolution's utopia critic neogeo - are evoking, but the irony is also emphasized with the little size of his works. The works, evolving from the duality of spontaneity and the proper realization are also reflection on the spatial relations, and not only on the gallery's neutrality but with their standard 15 cm dimension also on the hospital's, laboratories' surfaces covered with tiles.
The works of Schmierer - even though their minimalism - offer especially diverse possibilities for cultural associations but can make us smile, if we recall their silent dynamism, that they inducate such process which let us see that each painting could be an object, that each object could be an abstract painted picture.
1Man, 1Ball
12 June - 31 July, 2010
The exhibition represents the way of artistic work, where the artist's objects and paintings (despite of the fact that they seem only to be half ready) show their relative completeness. Besides the process, due to the used material's physical features, the artist makes a reference to Malevics's abstract works made in the period of supermatism interacting with the concept of contructivism.This evolved irony is the basic feature of Schmierer's works.
The irony evolved from this kind of contradiction is typical for Schmierer's puritan looking, but incredibly rich referential works: by Malevics's planits and architektons, the 50's paint-weeping, splattering gesture-painting works, the works of Joseph Albers and the conception of the 70's capitalist and anti-capitalist revolution's utopia critic neogeo - are evoking, but the irony is also emphasized with the little size of his works. The works, evolving from the duality of spontaneity and the proper realization are also reflection on the spatial relations, and not only on the gallery's neutrality but with their standard 15 cm dimension also on the hospital's, laboratories' surfaces covered with tiles.
The works of Schmierer - even though their minimalism - offer especially diverse possibilities for cultural associations but can make us smile, if we recall their silent dynamism, that they inducate such process which let us see that each painting could be an object, that each object could be an abstract painted picture.