TOBIAS PILS

Posted on 2017-05-15

The exhibition will be comprised of new paintings. Pils complex compositions present a field that is neither entirely legible nor abstract, but rather exists (and evolves) between these seemingly disparate states of representation. The result are compositions that continually agitate and shift between surreal-like, anthropomorphic forms and more hard-edge abstractions, challenging the notion of a stable image or perception.

“His compositions of marks have no representational intent to guide them yet often result in suggestive figuration. He likens a section of one of his recent paintings to the fronds of “palms”, while another, which displays a similar sequence of feather-like branching, contains a section that becomes to his eye an “arrow”. An entirely natural, virtually absent-minded stroke of the brush, a gentle curving motion that seems hard-wired into the functioning of the human hand-leads to such figurative resemblance. The representational associations that appear to Pils arrive after the fact, or perhaps even during the process of painting, but without guiding the outcome. Depending on how the curves cluster or branch, they may suggest feathers, leaves on a stalk, or hair. Or nothing.”

Opposite – Untitled (city), 2016

Exhibition runs through to June 17th, 2017

Galerie Eva Presenhuber
39 Great Jones Street
10012 New York

www.presenhuber.com

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CHARLINE VON HEYL

Posted on 2017-05-15

Charline of Heyl creates paintings that act as self-refreshing visual events, as enigmatic presences that seduce or disturb the viewer without a word. They are often funny, but they have no fear of poetic depth or even pathos. Activate the colors: they move, drain and recharge, depending on the time of day and position of the viewer. Interference colors, whose nature is paradoxical with the light to act, bring the hierarchy of tonality together. Copper, aluminum, dirty pastel colors, coal powder, fluorescent, but also graphic black and white are applied in unstable and broken layers, which creates different moods and emotions.

Drawing is an important element, although the lines and gestures are more likely to be stuck in outline than in their autonomous assertion. By repetition patterns are created, by movement or stabilization, tension or resolution. The narrative elements create their own energies, but they never break the promise. Together, composition, colors and lines slow down the view, stretch or deform the moment of vision, thus transforming time into space and making the picture an object.

Heyl is more concerned with visual effects than with the direct effect of a haptic surface. In doing so, she draws the practicality of acrylic the seductive nature of Impasto painting and oil. Brush strokes are not recognizable, which means that the image is often almost as printed. From a completely smooth surface, the work expands or contracts back into itself. Painted “stickers” destroy illusion with illusion where there is the danger that the painting might fall in love with itself.

Opposite – “Great Train Robbery”, 2017

Exhibition runs through to June 3rd, 2017

Capitain Petzel
Karl-Marx-Allee 45
10178 Berlin
Germany

www.capitainpetzel.de

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