The paintings of Stefan Lenke are geometrical arranged, abstract constructed compositions of colour, form and line. His artistic examination of objective experiences is (clearly) perceivable, however the spaces which arise within the colourful surfaces refuse a concrete appellation. Reduced applied lines, side by side standing surfaces, fluent colour transitions and severe colour contrasts give the flat image carrier a moving space volume.

In a long process of repeatedly, partly transparently overlaying multiple pigment layers, the subsurfaces become visible and the technical forms start to pulsate and to oscillate. The elements of the image receive a differentiated sensual character. Thus the abstract colour surfaces make both the wideness of landscapes and architectural situations tangible.

Also, his object installations vibrate and appear at their fronts instabile, while the sides of these geometrical objects concentrate to surfaces.

Memories Dictate the Pictures

Due to the overlay and density of images in our recollection, our memories undergo a process of constant transformation. It is just this metamorphosis that Stefanie Busch has captured in her »Cuyahoga Series«. Various views of Cleveland (Ohio) become apparent, although they’ve been altered by being overprinted with different motifs. They seem to be photographic sketches, which, however, upon closer inspection reveal themselves to be not photos but rather screen prints composed of several transparent shades of grey. The pictures turn out to be the sum of slightly abstracted details and razor-sharp cuts. Seldom is colour added to the black-and-white images, underscoring their evocative nature.

A video work is based on a photographic sketchbook, where the rapid exchange of images makes it impossible to see any single moment, and yet this piece provides the viewer with a comprehensive portrayal of a trip to the western Balkans. The artist often presents her work using light as a synthesis of film aesthetic, photography and painting, as in the piece »Atlas«, a very personal portrait of several of the artist’s friends whose curious frontal gaze combines with the superimposed pattern to form an anonymous and broad portrait of a generation.

Although Jan Brokof is increasingly focusing on installations in his oeuvre, at heart he is still a graphic artist, whose mediums of choice include pencil drawings, etchings, ink paintings, and, above all, woodcuts. Memories and biographical moments have played a key role in his three-dimensional works, including P2 and Jugendzimmer (‘Childhood Bedroom’) – and they continue to do so, even as Brokof shifts to a more universal and abstract language. Indeed, whereas in his early search for artistic motifs the artist drew inspiration from his hometown of Schwedt and the mounting social problems in this eastern German city, Brokof’s most recent objects, woodcuts, and ink paintings can be seen as a much broader exploration of the urban landscape. At times, however, this focus on content gives way to a more direct analysis of surface and space. The line of the building façades along the street and high-rise complexes are made accessible to the observer in all their three-dimensionality, only to be exposed as mock-ups – an interplay of surfaces.

Eckehard Fuchs’ depicted subjects occupy the intersection between observed human behaviours and an imagination pervaded by nightmares, sex and estrangement, a vision which has been formally trained by diverse impressions of visual codes throughout art history. The lavishly expressive Romanesque and early Gothic sculpture as well as the exaggerated caricatures of William Hogarth’s prints offer points of reference.

With his figures, Fuchs investigates interpersonal interactions. Visual tales are populated by characters that serve as ‘wildcards of human patterns of action’, at times well-disguised.

The most recent works are characterised by the author\'s lack of rootedness – by a to and fro between different localities and places of residence, without any ultimate destination. The animation casa parallela offers a tour of Eckehard Fuchs’ worlds, making clear the relationship between place and work of art.

Artist of gallery invite artist for the last exhibition in our old gallery in sebnitzer street. Follow artists will participate on show:

Paola Alborghetti, Ulf Aminde, Tino Geiß, Andreas Hildebrandt, Anne Kaminsky, Rene Lück, Andre Tempel, Patrick Ward, Regina Weiss/Katinka Theis

(promoted by: Theo Boettger, Jan Brokof, Stefanie Busch, Eckehard Fuchs, Sebastian Hempel, Benno Hinkes, Stefan Lenke, REINIGUNGSGESELLSCHAFT, Martina Wolf)

Sebastian Hempel will do the first show in our new and bigger gallery at the Louisenstreet 72 in Dresden. All is in local movement.