The series of photography in this exhibition is dedicated to some of the seven emotions that the artist considers to be the basic requirements for an artwork to become eternal and complete, and for it to transcend the time in which it was created.
These emotions are tied to the images of gestation; a metaphor of the anguish the artist feels in the act of creating, precisely when his mind is being fertilized by the original idea. Ginestet puts all the models on the threshold of the door communicating between two spaces: the first one dedicated to painting and the second one dedicated to sculpture. This way, by superimposing the two opposite points of view, there is at the same time a fusion between painting, sculpture and photography. This fusion is both a paradox in its strength and its delicacy and has its counterpart in the three dimensions of the bronze casts of busts, in which the images find aesthetic continuity. Way beyond any sculptural speculation, the images suggest a double dimension with its being fusing the point of view most obvious to the viewer with its subtle counterpart, darkness, thus inviting the onlooker to enter this work (as much as a single piece as a collection of pieces) as if it were one’s own existential enigma.
Joan-Francesc Ainaud, 2006 (catalogue Cos i Anima, 2006)
Eine Verbeugung in den Farben der Vergangenheit vor den ARTISTINNEN und AKTIVISTINNEN der Künstlergemeinschaft im Hamburger Gängeviertel zum einjährigen Bestehen, allen Widrigkeiten zum Trotz!
DANKESCHÖN für einen mutigen, fleissigen und farbenfrohen Beitrag für ein schöneres Hamburg!
Wer übrigens die Farben sehen will, sollte einmal seinen Mors dorthin bewegen....
DANKESCHÖN auch an BE` SHAN (und seine Gäste), auf dessen Vernissage ich einen guten Teil der Bilder dieser s/w Serie schiessen konnte.