Jonas Maas
20 Apr - 15 Jun 2013
© Jonas Maas
Untitled, 2013
Lacquer, alkyd enamel, acrylic paint, egg tempera, pigment, hdf, wood
20 x 255 x 8,4 cm
Untitled, 2013
Lacquer, alkyd enamel, acrylic paint, egg tempera, pigment, hdf, wood
20 x 255 x 8,4 cm
JONAS MAAS
cluster
20 April - 15 June 2013
We are pleased to announce the opening of cluster, our first solo exhibition with Jonas Maas on April 19 at 7 pm in our gallery in Cologne.
From an initial perhaps superficial glance, the works of Jonas Maas may appear rather varied, even disparate. The pervasive and binding element is namely a structural one, reaching beyond aesthetics of style (handwriting) or certain subject matter, it exceeds the paintings themselves. Their sole, pertinent subject matter is the ambivalences of their manifestations, their materiality, meaning on the one hand the corporeal presence of color and its carriers (in some cases both in one) and the pure lightness of immateriality on the other. The field in which Jonas Maas is testing his possibilities (not conceivabilities!), has been marked by such names as de Keyser, Wool, and Mangold, to name just a few in the past 60 years, while his method of manipulating structures exhibit analogies with the musical ideas of variation and counterpoint. This sphere of influence does not, however, serve as a source of quotation, rather it triggers individual realizations in a diffuse, catalytic manner. (Stephan Engelke)
cluster
20 April - 15 June 2013
We are pleased to announce the opening of cluster, our first solo exhibition with Jonas Maas on April 19 at 7 pm in our gallery in Cologne.
From an initial perhaps superficial glance, the works of Jonas Maas may appear rather varied, even disparate. The pervasive and binding element is namely a structural one, reaching beyond aesthetics of style (handwriting) or certain subject matter, it exceeds the paintings themselves. Their sole, pertinent subject matter is the ambivalences of their manifestations, their materiality, meaning on the one hand the corporeal presence of color and its carriers (in some cases both in one) and the pure lightness of immateriality on the other. The field in which Jonas Maas is testing his possibilities (not conceivabilities!), has been marked by such names as de Keyser, Wool, and Mangold, to name just a few in the past 60 years, while his method of manipulating structures exhibit analogies with the musical ideas of variation and counterpoint. This sphere of influence does not, however, serve as a source of quotation, rather it triggers individual realizations in a diffuse, catalytic manner. (Stephan Engelke)