Helmut Federle's investigations into image composition stand out amidst the superficiality of contemporary art, offering a grammar of visual possibilities that encourages precise observation. His series "Liegendes H" features 70 variations exploring the fundamentals of abstract painting, blending poetic subtleties with inventive techniques.
In Baumkötters Bildern geht es nicht bloß um Zwischenräume, weil sich keine Grenzen abzeichnen, die ein „Dazwischen“ herstellen könnten. Alles ist ein „Dazwischensein“, die Fläche und die auftauchenden Andeutungen in ihrem unabgrenzbaren Entstehen, Sich-Zurücknehmen und gegenseitigen Durchdringen. So erzeugen sie ein anderes Wahrnehmen und Denken – nicht definierend, nicht begrifflich, sondern ein Zusammen-Denken des Unterschiedlichsten in visueller Simultaneität. Dieses Denken, diese Erfahrung des Vielfältigen als Unabgrenzbarem, diese Bestimmtheit des Nicht-Definierbaren ist alles andere als weltfern und entrückt, vielmehr eröffnet es Perspektiven einer offenen Sichtweise und einer anderen Genauigkeit. (Erich Franz)
The abstract pictures of Paco Knoller unfold in colourful richness. The colours mainly range between tones of turquoise, greenish yellow, lilac and violet; via interplay, they mutually rein- force and influence each other. His new work group of smaller and colour-dense wood panels, which has come about since 2005, goes back to the oil crayon works on paper with their more monochrome priming in oil crayon and pigment and the large-scale bright 'cuts' that he did between 2001 and 2005. The printing blocks have carried over the intense colour zones and layers, printed freehand on gigantic paper sheets permeated with gouged-out progressions. In the new wood panels, colours and gougings come together in bundled energy and appear to have internalized wide-awake experiences of nature, of human life, of poetry.
All of the sculptor David Rabinowitch's work, i.e., the flat floor sculptures he has done since the 1960s and his extensive group of drawings, is based on the concept of vision. The perception of the work ensues via the interconnection of the viewer's different standpoints with the work's formal structure and its many manifestations. The recipient apprehends, discovers and combines its formal, material and three-dimensional identities. Whereby the artist has divested his artworks of any otherness, of anything that points beyond them, particularly of subjective interiority. This makes it all the more surprising that Rabinowitch, in the years 2008 – 2010, has once again turned to painting, which he had given up in 1962 and which, instead of the known geometric elements, now bursts with vivacious drawing, rapid traces of chalk and pencil and a restlessly scoured surface. And yet the linear and planar processes remain clear-cut, straightforward and real. The built-up tension between rapidly moving fabrication and visual apprehension is resolved in the amalgamating intensity of the whole.