26 October 2019 - 12 December 2019
Tashi Brauen’s objects and pictures aren’t meant for all eternity. Back in the studio from an exhibition, cardboard might get a second coat of paint. Then the previous shade might announce itself on the surface in soft shadows, or mix itself with the temperature of the new layer of acrylic. Tashi Brauen delights in materials and enjoys a nearly intimate relationship with paper. He tests its narrative potential by treating it with paint or damaging it just slightly. A crease, split or tear draws light, irregular veins into the red or blue ground. Cardboard jumps off the wall three times, forms half drums and, with cracked edges, evokes a notion of columns, lanterns, lampshades. And that’s where it happens: painting flirting with design and delivering a commentary on the environment and architecture. A piece of paper glued to the surface becomes a threshold, its micro-edge casts a dark, narrow shadow onto a monochrome surface. Doesn’t a landscape have its beginnings in such a minimal gradation?
The works of Swiss artist Tashi Brauen are created amid genres.
Between image and sculpture, surface and volume, as well as between different media of artistic expression, Brauen creates expansive installations, picturesque-looking photographs and relief-like wall objects that playfully trace the phenomenon of the surface.
Through his material manipulation, Tashi Brauen opens up a new and unusual view of traditional materials and focuses on their physical properties.
The works of Berlin based Spanish artist Patricia Sandonis possess a strong political character.
The partly participatory installations, objects, and drawings translate social phenomena into artistic processes. For example, Sandonis deals with the creation and consolidation of collective memory. For this, she has dealt with the conservation of European monuments, and has developed her own artistic language of remembrance.
The Berlin-based artist Elisabeth Sonneck uses painterly means to create exciting color spaces. However, these do not constitute a self-contained illusionistic image, but are directly related to their environment.
In temporary site-specific installations as well as in autonomous pictorial objects, Elisabeth Sonneck's painting emanates from surface and wall, becomes vivid and conquers real space. With minimalist lightness, her works expand artistic boundaries.
Oksana Bergen is a visual artist living and working in Germany. She was born and raised in the town of Kedrovy Shor, in Russia. At the age of 15, Oksana and her family moved to Paderborn, Germany, where she now lives with her husband and their two sons.
I had the pleasure of interviewing Oksana where I was captivated by watching live demonstrations of her agile and graceful hands snipping paper, while the fine paper “hair” floated gently onto the table. Oksana skillfully cuts and shapes design elements unifying them to achieve works of art.
Ecologically minded, Oksana uses colored advertisement paper, choosing it for its malleability and stability for building her relief work. She collects unsolicited promotional print material most people would toss in the recycling bin. Instead of discarding it, she expertly manipulates this glossy, colored print material rendering it depth and elevating it to an aesthetic relief artwork. Oksana is like an alchemist of paper, transforming junk mail and imparting it with an aesthetic form, fundamentally turning “trash to treasure.”
Tashi Brauen is a Swiss-Tibetan photographer, painter, and sculptor based in Zurich, Switzerland. His work combines the fragility of paper, spontaneous folding and manipulating surfaces with bold color and texture to reveal the artist's affection for geometric forms, shifting perspectives on dimension and exploring the interplay of scale, impact and details.
Meeting Tashi for the first time at his exhibition in Bern at the Museum of Fine Arts, our easy conversation led the way to a recent visit at his studio in central Zurich. There, we discussed his upcoming exhibition in Berlin at Ronewa Art Projects, his work and process as well as sharing a personal glimpse of his life as an artist.
German artist Veit Schmidleitner's paintings from his "Coupure" Series of abstractions fuse a sense of the industrial with inherent elegance that create new surfaces that defy tradition. These sometimes dramatically contrasting notions are brought together in compositions that evoke both a new visual topography and a sense of grace that nod to industrial roots, but that in some ways deflect traditional artistic methods.
The works range in scale from moderate to those that anchor an entire gallery wall, and as the spacious galleries include natural light at certain times of the day, many nuances and visual textures are revealed to the delight of the viewer.
At first glance, compositions appear to feature a traditional paint application of washes that harbor the subtlety of watercolor work, but there is more. A variety of color tones and greys that shift and evolve of their own accord take over the compositions. In some areas, there are bursts of intense color that grab the eye and interrupt initial readings. Simultaneously, curiosity is piqued as these works have what appear to be a mix of traditional and industrial pigments, and high-gloss varnish that gives the work an extreme polish or sheen that is intriguing. The treatment of surface is reflective and as the viewer approaches the work they may see their reflection and elements in their space. This is not a classic painting approach, it is something very new indeed.
Schmidleitner creates with cut panels that are often times irregular, but that are joined to make finished stable rectangular or near-square compositions. Orientations may be primarily vertical or horizontal depending on the piece.
I had the opportunity recently to speak with Schmidleitner by Skype and also in person in Berlin, before the vernissage.