Lisa Kränzler
15 Nov 2014 - 10 Jan 2015
LISA KRÄNZLER
Pitch, Black
15 November 2014 – 10 January 2015
Snotty, powerful, and wild–with her large-sized works on paper, Lisa Kränzler proclaims the maximum intensity of the artwork. Particularly the loud and rich colours make up the high expressivity of her paintings. The enamel, extensively applied on paper, runs down, leaves traces, smudges outlines and hinders sight of the original motif. The material becomes autonomous and makes the image “unclean“ and thus–alive. Nothing would be more distant from Lisa Kränzler than treating the image as an untouchable auratic object and as a result consolidating it. On the contrary, she nails the artwork to the wall in order to work on it rather quickly and directly. It appears that the paper is sealed with the enamel like a protective coating, but this is just an ostensible protection–over time the image obtains cuts, bends and holes. Inevitably, the image carries traces of the working process that belong to its formation and thus belong to its nature.
Lisa Kränzler finds possibilities of aesthetic expression in painting as well as writing. A sharp differentiation between both media is neither wanted nor necessary. The artist rather wants to create images by all disposable means. Lisa Kränzler uses influences and parallels between literature and fine arts in order to develop new forms of depiction, such as text works that are at the boundary of written and painted. Those works are typed with a typing machine and then processed with markers. The possible typo and grammar mistakes are not corrected though–they are allowed to stay once they have found their way onto paper. The texts are self-referential–being their own subject matter, they explain what they are. The viewer approaches them as art works and has different choices of reading at hand: Within the pure visual perception, letters and spaces are to be understood as elements of the image. When browsing, individual words stand out, whereas thorough reading concentrates primarily on the content.
Velocity and immediacy characterise the dynamic and uncompromising paintings of Lisa Kränzler. Her works come into existence quickly and have a prompt effect. Images, already existing inside her head, are made visible in one impulse.
Pitch, Black
15 November 2014 – 10 January 2015
Snotty, powerful, and wild–with her large-sized works on paper, Lisa Kränzler proclaims the maximum intensity of the artwork. Particularly the loud and rich colours make up the high expressivity of her paintings. The enamel, extensively applied on paper, runs down, leaves traces, smudges outlines and hinders sight of the original motif. The material becomes autonomous and makes the image “unclean“ and thus–alive. Nothing would be more distant from Lisa Kränzler than treating the image as an untouchable auratic object and as a result consolidating it. On the contrary, she nails the artwork to the wall in order to work on it rather quickly and directly. It appears that the paper is sealed with the enamel like a protective coating, but this is just an ostensible protection–over time the image obtains cuts, bends and holes. Inevitably, the image carries traces of the working process that belong to its formation and thus belong to its nature.
Lisa Kränzler finds possibilities of aesthetic expression in painting as well as writing. A sharp differentiation between both media is neither wanted nor necessary. The artist rather wants to create images by all disposable means. Lisa Kränzler uses influences and parallels between literature and fine arts in order to develop new forms of depiction, such as text works that are at the boundary of written and painted. Those works are typed with a typing machine and then processed with markers. The possible typo and grammar mistakes are not corrected though–they are allowed to stay once they have found their way onto paper. The texts are self-referential–being their own subject matter, they explain what they are. The viewer approaches them as art works and has different choices of reading at hand: Within the pure visual perception, letters and spaces are to be understood as elements of the image. When browsing, individual words stand out, whereas thorough reading concentrates primarily on the content.
Velocity and immediacy characterise the dynamic and uncompromising paintings of Lisa Kränzler. Her works come into existence quickly and have a prompt effect. Images, already existing inside her head, are made visible in one impulse.