≈ Smaragdgrün (Can Vega-/Gordiolagrün)
2018/2019 / glass, casein, on the wall / about 3 x 10 m
Two different green typical lampshades (almost emerald green) of the glass workshop Vidrias Gordiola in Algaida, Mallorca, were ground into pigment for painting in six grain sizes. Then it was enriched with binder and compacted in this painting on the wall of the living room of the collector‘s house in Mallorca to its own most intensive green scale. Orange particles of a car back light, found at one of my hiking tours in the mountains of the Tramuntana, where the house is situated, makes some contrast spots and the green more flickering. The axes of the window views direct the eyes to the image of the landscape and its color scale with other kinds of green of the vegetation outside. The colour painting now complements its colour palette congenial! The game with the change of the daylight, which reaches this large and lightful living room, is absolutely necessary for the painting in order to let the green shine as much as possible in its own maximum range.
The glass craftsmanship, an ancient trade in Mallorca, is in danger of dying out due to lack of ingenuity and too much traditionalism. It used to be one of the most vibrant craftsmenship in glass, Mallorca was on of the leader and the direct competitor to Murano back in the days!
Backsteinrot 2 (300° haben wir noch zeit, L6, Freiburg)
2014 / dust from drilling wholes in the wall oposite the painting, acrylic binder, on the wall / 2,30 x 3,18 m (painting) / Installation view in: 300° haben wir noch Zeit / Städtische Galerie L6 / Freiburg (DE) / Images: Marcel Frey
Indigoblau – Rubinrot (Rhön)
2017 / elderberry juice (from Nordheim vor der Rhön (DE)) on walls and ceiling, daylight comming through the small window behind the door / Exhibition project: HAUS PFEFFERMANN
In the whole, relatively dark room, I painted the elderberry juice in layers on the ceiling and the walls. The alkalinity of the wall paint underneath changes the dark red dye on the fading edges in blue tones. The only small light source in this sparsely lighted room is the small window behind the door. It is the opposite of what we Europeans consider essential for painting in generel (the light). But the eyes got used to it slowly. In the summer time, a ray of sunshine falls briefly on the large wall in the late afternoon and and projected a spotlight.
An exchange with the farmers from the region arosed as well: an elderberry farmer provided me with the raw material for the paint. From then on, the family often came to visit and let the new (color) impressions of their owen material have an effect on themselves.
The colors and thus the image changed over time, but the sweet smell hardly changed.
HAUS PFEFFERMANN was a one-year exhibition project in Nordheim vor der Rhön in the Lower Franconian, which was initiated and organized by us eight artists. The year, the house in its rural location and the seasons were the starting point for the own work as well as for the curatorial work on the project. Guest artists were invited.
In the summer of 2017, Natalie Obert and I investigated the question „What is landscape in artistic work?“ with our curatorial project „A Summer Festival“ within the framework of HAUS PFEFFERMANN with the guest artists Peter Tollens and Karin Suter, invited by us.
My painting after one year: