Tobias Hantmann
26 Jun - 19 Sep 2009
TOBIAS HANTMANN
One opaque layer each
June 26 - September 19, 2009
Opening: Friday, June 26 2009. 6 till 9 pm
KONRAD FISCHER GALERIE is pleased to announce the opening of the third exhibition of the series 'fischer oben' (1st floor space) on the 26h of June 2009, 6 - 9 pm, with the exhibition 'One opaque layer each' by the artist Tobias Hantmann (*1976 in Kempten, Germany).
Tobias Hantmann’s painting has developed from large scale canvases and collages to ink drawings on dryed leaves and finally to monochrome carpets on which he drew geometric shapes or still life-like imagery with combs or rulers.
In his most recent works he juxtaposes painting and photography. Based on the notion of simple mirror-effects on ordinary steel pots the artist realized ideosyncratic ensembles of this kitchenware . The pots are turned upside down and put on pedestals which make them appear as if they are hovering few inches above the floor. The backsides of the pots are covered with a thin layer of oil paint imitating the mirror-effects of the metal in sometimes unusual colors. Independent from any specific exposure to light, the mirror-effects now seem to be inscribed into the objects.
These painted pots are then being arranged in groups and photographed as still-lifes. In their soberness and neutrality the images are reminscent of the photography of the Neue Sachlichkeit. The juxtaposition of two and three-dimensional imagery of the same objects leads to curious perspectives and provokes critical thoughts about the artistic access to reality or to what we might consider as real.
One opaque layer each
June 26 - September 19, 2009
Opening: Friday, June 26 2009. 6 till 9 pm
KONRAD FISCHER GALERIE is pleased to announce the opening of the third exhibition of the series 'fischer oben' (1st floor space) on the 26h of June 2009, 6 - 9 pm, with the exhibition 'One opaque layer each' by the artist Tobias Hantmann (*1976 in Kempten, Germany).
Tobias Hantmann’s painting has developed from large scale canvases and collages to ink drawings on dryed leaves and finally to monochrome carpets on which he drew geometric shapes or still life-like imagery with combs or rulers.
In his most recent works he juxtaposes painting and photography. Based on the notion of simple mirror-effects on ordinary steel pots the artist realized ideosyncratic ensembles of this kitchenware . The pots are turned upside down and put on pedestals which make them appear as if they are hovering few inches above the floor. The backsides of the pots are covered with a thin layer of oil paint imitating the mirror-effects of the metal in sometimes unusual colors. Independent from any specific exposure to light, the mirror-effects now seem to be inscribed into the objects.
These painted pots are then being arranged in groups and photographed as still-lifes. In their soberness and neutrality the images are reminscent of the photography of the Neue Sachlichkeit. The juxtaposition of two and three-dimensional imagery of the same objects leads to curious perspectives and provokes critical thoughts about the artistic access to reality or to what we might consider as real.