Julian Fickler
11 Sep - 27 Oct 2012
JULIAN FICKLER
Überall hin
11 September - 27 October 2012
Konrad Fischer Galerie Berlin is pleased to introduce the work of Julian Fickler as part of our series „fischer oben“.
In our first floor space we will show five canvases of this young painter who is currently studying at the art academy in Karlsruhe. Fickler's painterly concept has changed radically in the past two years. Dissapointed by classical oil painting he has developed a technique which highlights the painting process and leaves space for unexpected results which sometimes seem barely under his control.
After having decided the format of each painting Fickler applies used and wet fabric on his stretchers and then starts to paint on them with thin medium wet on wet. While still wet this process produces mirroring surfaces of intense chromaticity. When dry, the colors fade and the overall impression radically changes; the surfaces now seem soft and deep as light seeps through the fabrics onto the walls behind them, thus creating a dynamic perception of the surfaces which notably change depending on where one stands.
Within this field of tension between states of wet and dry, Fickler's paintings gain a kind of autonomy and at least in parts, they seem to paint themselves. These quiet works seem to ask the viewer to read their complex phenomenology and understand them as they are.
Überall hin
11 September - 27 October 2012
Konrad Fischer Galerie Berlin is pleased to introduce the work of Julian Fickler as part of our series „fischer oben“.
In our first floor space we will show five canvases of this young painter who is currently studying at the art academy in Karlsruhe. Fickler's painterly concept has changed radically in the past two years. Dissapointed by classical oil painting he has developed a technique which highlights the painting process and leaves space for unexpected results which sometimes seem barely under his control.
After having decided the format of each painting Fickler applies used and wet fabric on his stretchers and then starts to paint on them with thin medium wet on wet. While still wet this process produces mirroring surfaces of intense chromaticity. When dry, the colors fade and the overall impression radically changes; the surfaces now seem soft and deep as light seeps through the fabrics onto the walls behind them, thus creating a dynamic perception of the surfaces which notably change depending on where one stands.
Within this field of tension between states of wet and dry, Fickler's paintings gain a kind of autonomy and at least in parts, they seem to paint themselves. These quiet works seem to ask the viewer to read their complex phenomenology and understand them as they are.