Poetry through structure
Chantal Atelin
Thomas Koch
Martin Noël (1956 - 2010)
Christiane Reiter
Exhibition: 18/09 - 05/11/2024
Cracks in the asphalt, in the cemented floor, shadows on facades - random structures inspired Martin Noël (1956-2010) to create abstract wood or linocuts. He cut the selected sections of the found line constellations into lino or wood and printed the raised surfaces on black. The granulation of the printing layers gives each individual print a painted signature. In the series “Little Ottos”, Martin Noël focuses on color fields, quotes from Otto Freundlich’s painted work. Martin Noël knew how to reduce the references to an impressive minimum and thus create a new view of colors and shapes.
Christiane Reiter creates her works using algorithms that she has invented, which free her from unwanted design questions. She follows the rules that have been set beforehand and, in most cases, carries them out serially and over large areas using colored pencils. The work is created in a mysterious way and is ultimately an expression of its own, independent meaning. The preceding intensive, analogue act of drawing is a special appreciation of the work as a subject and can also be understood as therapeutic counter-work in the midst of a massively unsettling reality.
Chantal Atelin designs architectures of emptiness. Open, deconstructive, cubic structures that outline spaces without limiting them. The space is not really important here, but the framework is fascinating because of its network of lines that appear new depending on the angle. They are always straight lines that reveal impressive structures in zigzag formations, infinite loops or spartan ramifications, in which one can also discover the architecture of the empty space or enjoy the graphic nature of the structure.
Each sculpture creates a shadow. These shadows are not the same depending on the viewer's location and change depending on the light and time. For her wall works, Chantal Atelin freezes these passages of light by tracing the shadows of the same sculpture at different times on paper and then in metal.
Thomas Koch prefers to express himself in small formats of 20 x 20 or 30 x 30 cm. Nevertheless, his drawings, paintings and collages (or all techniques in one) grow rhythmically up to 150 x 150 cm.He structures the larger surfaces into small units so that he stays in his favorite format. He works on one square after the other with carefully composed abstractions in order to connect them together coherently to form a unit. And although he owes the inspiration for every line, for every surface, to the objects, the random arrangements in his immediate surroundings, Koch's painted and drawn poetry is always (pleasantly) read abstractly.
Christiane Reiter creates her works using algorithms that she has invented, which free her from unwanted design questions. She follows the rules that have been set beforehand and, in most cases, carries them out serially and over large areas using colored pencils. The work is created in a mysterious way and is ultimately an expression of its own, independent meaning. The preceding intensive, analogue act of drawing is a special appreciation of the work as a subject and can also be understood as therapeutic counter-work in the midst of a massively unsettling reality.
Chantal Atelin designs architectures of emptiness. Open, deconstructive, cubic structures that outline spaces without limiting them. The space is not really important here, but the framework is fascinating because of its network of lines that appear new depending on the angle. They are always straight lines that reveal impressive structures in zigzag formations, infinite loops or spartan ramifications, in which one can also discover the architecture of the empty space or enjoy the graphic nature of the structure.
Each sculpture creates a shadow. These shadows are not the same depending on the viewer's location and change depending on the light and time. For her wall works, Chantal Atelin freezes these passages of light by tracing the shadows of the same sculpture at different times on paper and then in metal.
Thomas Koch prefers to express himself in small formats of 20 x 20 or 30 x 30 cm. Nevertheless, his drawings, paintings and collages (or all techniques in one) grow rhythmically up to 150 x 150 cm.He structures the larger surfaces into small units so that he stays in his favorite format. He works on one square after the other with carefully composed abstractions in order to connect them together coherently to form a unit. And although he owes the inspiration for every line, for every surface, to the objects, the random arrangements in his immediate surroundings, Koch's painted and drawn poetry is always (pleasantly) read abstractly.