top Gold Diggers

aus der Serie "Tit for Tat" "wie Du Dir so ich mir"-

top "Wie Du Dir so ich mir", wanted

Wie du Dir so ich mir, Sternbilder, 2009

„Wie Du Dir so ich mir“ (tit for tat) ist konzipiert als Serie von Malereien ohne den Akt des Malens. Diese Papierarbeiten aus dem Jahr 2009 bestehen aus einer Überlagerung von zwei Papierschichten. Erstere ist ein Farbdruck, der sich auf ein Ereignis bezieht (meistens ein gefundenes Bild aus einer Zeitung), über Katastrophen, das Militär, Armut, das Wetter, Politik. Jedes ist ausgesucht da es auf bestimmte Art und Weise repräsentativ für das zeitgenössische Leben zu sein scheint. Auf diesem Farbbildausdruck liegt ein weißes Blatt mit einem sternförmigen, ab der Mitte radial auslaufenden Ausschnitt, der einen optischen verschleiernden Effekt verursacht.
Wie Du Dir so ich mir, ist Teil eines weit gefächerten Interesses für Definitionen von Wahrheit in der heutigen Medienwelt. Dies beinhaltet die Weise wie Nachrichten uns erreichen; wie wir verstehen können, was bestimmt oder wahrheitsgemäß in diesen Berichten ist, so wie unsere Art des Dechiffrierens und Erfassens der Realität im Kontext der scheinbaren Wahrheitstreue der Formen und Botschaften der Massenmedien.
Diese Serie stellt sich außerdem an, die Tradition der Malerei in Frage zu stellen mit ihrer Ästhetik, die auf den ersten Blick wie eine Drip-oder Splashmalerei aussieht. Doch dann entdecken wir, dass die Farbe, die wir sehen, unter der Oberfläche liegt; und während wir den dreidimensionalen Aspekt erfassen, können wir in ein bewusstes Spiel hineingezogen werden, das, was in Form von Fragmenten und Mustern, hinter den geschnittenen Schlitzen auftaucht, zu dechiffrieren. Hoffen wir dass dieses Dechiffrierspiel uns zum nachdenken bringt über die Spannungen zwischen Oberfläche und Tiefe, Oberflächlichkeit und Analyse, Schein und Wahrheit, in jeglicher Form der Darstellung und Wahrnehmung. (Kritik von Rob Garret für die Ausstellung „lost in a dream“ in der Snake Pit Gallery, Aukland (NZ), 2012)

top engagez vous qu ils disaient! (Sternbild)

“Wie Du Dir so Ich Mir” (Tit for tat), Sternbilder, 2009 is conceived as a series of paintings without paint. These paper works from 2009 consist of a superposition of two sheets of paper. The first one is a colour print relating to an event from the real world (usually a found image from newspapers), such as relating to disasters, the military, poverty, fashion, the weather, politics, or old paintings. Each is chosen because it seems representative in some way of contemporary life. On top of this coloured reproduction lies a white sheet of paper with a cut-out star motive radiating from the middle that produces an optic or a disturbing effect.
“Wie Du Dir so Ich Mir” is part of a wider interest in definitions of the truth in the media world today. This includes how messages reach us; how we come to understand what is definitive or truthful within those messages; and the ways we decipher and perceive reality relative to the apparent truthfulness of mass media forms and messages. The series also sets out to question the tradition of painting with its aesthetic that at first glance looks like drip or splash painting. But then we discover that the colour we see is under the surface; and perceiving the three-dimensional aspect we may be drawn into a conscious game of trying to decipher what lies beneath by the fragments and patterns that appear through the cut slits. Hopefully this game of deciphering also causes us to reflect on the tensions between surface and depth, superficiality and analysis, appearances and truth, in all representation and perception.
Rob Garret

top alles wurst

“Wie Du Dir so Ich Mir” (Tit for tat) is conceived as a series of paintings without paint. These paper works from 2009 consist of a superposition of two sheets of paper. The first one is a colour print relating to an event from the real world (usually a found image from newspapers), such as relating to disasters, the military, poverty, fashion, the weather, politics, or old paintings. Each is chosen because it seems representative in some way of contemporary life. On top of this coloured reproduction lies a white sheet of paper with a cut-out star motive radiating from the middle that produces an optic or a disturbing effect.

“Wie Du Dir so Ich Mir” is part of a wider interest in definitions of the truth in the media world today. This includes how messages reach us; how we come to understand what is definitive or truthful within those messages; and the ways we decipher and perceive reality relative to the apparent truthfulness of mass media forms and messages. The series also sets out to question the tradition of painting with its aesthetic that at first glance looks like drip or splash painting. But then we discover that the colour we see is under the surface; and perceiving the three-dimensional aspect we may be drawn into a conscious game of trying to decipher what lies beneath by the fragments and patterns that appear through the cut slits. Hopefully this game of deciphering also causes us to reflect on the tensions between surface and depth, superficiality and analysis, appearances and truth, in all representation and perception.
Rob Garret

top outinside

Aus der Serie "Sternbilder", 2009
“Wie Du Dir so Ich Mir” (Tit for tat) is conceived as a series of paintings without paint. These paper works from 2009 consist of a superposition of two sheets of paper. The first one is a colour print relating to an event from the real world (usually a found image from newspapers), such as relating to disasters, the military, poverty, fashion, the weather, politics, or old paintings. Each is chosen because it seems representative in some way of contemporary life. On top of this coloured reproduction lies a white sheet of paper with a cut-out star motive radiating from the middle that produces an optic or a disturbing effect.
“Wie Du Dir so Ich Mir” is part of a wider interest in definitions of the truth in the media world today. This includes how messages reach us; how we come to understand what is definitive or truthful within those messages; and the ways we decipher and perceive reality relative to the apparent truthfulness of mass media forms and messages. The series also sets out to question the tradition of painting with its aesthetic that at first glance looks like drip or splash painting. But then we discover that the colour we see is under the surface; and perceiving the three-dimensional aspect we may be drawn into a conscious game of trying to decipher what lies beneath by the fragments and patterns that appear through the cut slits. Hopefully this game of deciphering also causes us to reflect on the tensions between surface and depth, superficiality and analysis, appearances and truth, in all representation and perception.
Rob Garret

top glanz glow glam

“Wie Du Dir so Ich Mir” (tit for tat) is conceived as a series of paintings without paint. These paper works from 2009 consist of a superposition of two sheets of paper. The first one is a colour print relating to an event from the real world (usually a found image from newspapers), such as relating to disasters, the military, poverty, fashion, the weather, politics, or old paintings. Each is chosen because it seems representative in some way of contemporary life. On top of this coloured reproduction lies a white sheet of paper with a cut-out star motive radiating from the middle that produces an optic or a disturbing effect.

“Wie Du Dir so Ich Mir” is part of a wider interest in definitions of the truth in the media world today. This includes how messages reach us; how we come to understand what is definitive or truthful within those messages; and the ways we decipher and perceive reality relative to the apparent truthfulness of mass media forms and messages. The series also sets out to question the tradition of painting with its aesthetic that at first glance looks like drip or splash painting. But then we discover that the colour we see is under the surface; and perceiving the three-dimensional aspect we may be drawn into a conscious game of trying to decipher what lies beneath by the fragments and patterns that appear through the cut slits. Hopefully this game of deciphering also causes us to reflect on the tensions between surface and depth, superficiality and analysis, appearances and truth, in all representation and perception.
Rob Garret

top panzer

Aus der Serie "Sternbilder", 2009

“Wie Du Dir so Ich Mir” (Tit for tat) is conceived as a series of paintings without paint. These paper works from 2009 consist of a superposition of two sheets of paper. The first one is a colour print relating to an event from the real world (usually a found image from newspapers), such as relating to disasters, the military, poverty, fashion, the weather, politics, or old paintings. Each is chosen because it seems representative in some way of contemporary life. On top of this coloured reproduction lies a white sheet of paper with a cut-out star motive radiating from the middle that produces an optic or a disturbing effect.
“Wie Du Dir so Ich Mir” is part of a wider interest in definitions of the truth in the media world today. This includes how messages reach us; how we come to understand what is definitive or truthful within those messages; and the ways we decipher and perceive reality relative to the apparent truthfulness of mass media forms and messages. The series also sets out to question the tradition of painting with its aesthetic that at first glance looks like drip or splash painting. But then we discover that the colour we see is under the surface; and perceiving the three-dimensional aspect we may be drawn into a conscious game of trying to decipher what lies beneath by the fragments and patterns that appear through the cut slits. Hopefully this game of deciphering also causes us to reflect on the tensions between surface and depth, superficiality and analysis, appearances and truth, in all representation and perception.
Rob Garret

top Chimäre und Hand (after Max Ernst), 2012
top der Schein des Seins

Ausstellungsansicht "die Dinge des Lebens", Gängeviertel Hamburg 2012
Mit Katrin Kampmann und Oliver Ross kuratiert von Alexander Stumm.

top spiegelsaal (Psychee-mise en abyme)

Spiegelpapier, Fundstück Tortenplatte, Schriftzug Aufkleber (Du liebst mich weil ich da bin), 2012

...auch den Spiegelsaal, komplett mit reflektierender Folie ausgekleidet, entführt in einem klar begrenzten bereich in einen faktisch unendlichen Raum. Ein in Spiegelschrift gesetzter Schriftzug ist nur durch einen weiteren an den gegenüberliegenden Wand befestigen schwarzen Spiegel zu entziffern....

Alexander Stumm