abstraction Archive | malenki.net

Stehen Liegen Hängen

Robert Schlotter — Wed, 16 Apr 2025 11:32:52 +0000

In her artist book Stehen Liegen Hängen, Dörte Eißfeldt takes us into her studio – the central location of her artistic work. The artist shares with us her personal view of her practice, of combinations and situations in this place of work.
In the mid-1970s, Dörte Eißfeldt, who comes from painting and film, increasingly turned to photography. For the artist, engaging with this visual medium implies working with fragments of reality. Her montages, multiple exposures, and experimental series are a continuous encounter of the visual potential of photography and at the same time gesture the photographic process of their genesis.

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Schneeball

Robert Schlotter — Wed, 01 Nov 2023 18:01:56 +0000

The photographs of Dörte Eißfeldt show materials or bodies, how we touch them and how they approach each other. Starting with one single, basic photo of a snowball in the palm of a hand, we are taken, through the multitude of prints, the different and contesting variations of light and dimensions of the image, from a cosmic spectacle — a sphere tumbling in a dark space — to a more intimate and erotic experience. Through the title, in the form of a play on words — Schnee-b-all, Snowball or Universe – evokes an almost cosmic poem … — Monique David-Ménard

Der Beitrag Schneeball erschien zuerst auf malenki.net.

Piece of Colonne. Fragments of Waves

Robert Schlotter — Thu, 17 Nov 2022 23:13:23 +0000

Starting point for the artist book Piece of Colonne. Fragments of Waves by Tamami Iinuma is a multi-coloured memo block in the shape of a spiral (which the artist found in a kiosk in Leipzig) and the artist’s question of how tremors, more precisely earthquakes, can be visualized in the pictorial representations of architectures.
Piled up to form a column, she photographed multiple paper blocks using a macro lens. Focusing with her camera beyond infinity, the colours, their density and shades started flowing into each other. Releasing the shutter, Tamami Iinuma tried to capture this moment like a surging wave.
The photographs taken and assembled in this artist book evoke thoughts of never-ending landscapes, a waving sea.

Der Beitrag Piece of Colonne. Fragments of Waves erschien zuerst auf malenki.net.

katern voor ‘bleu, blue, blau, melyna’

Robert Schlotter — Sat, 30 Jan 2021 12:56:06 +0000

“The world is blue at is edges and in its depths. This blue is the light that got lost. Light at the blue end of the spectrum does not travel the whole distance from the sun to us. It disperses among the molecules of the air, it scatters in water. Water is colorless, shallow water appears to be the color of whatever lies underneath it, but deep water is full of this scattered light, the purer the water the deeper the blue. The sky is blue for the same reason, but the blue at the horizon, the blue of land that seems to be dissolving into the sky, is a deeper, dreamier, melancholy blue, the blue at the farthest reaches of the places where you see for miles, the blue of distance. This light that does not touch us, does not travel the whole distance, the light that gets lost, gives us the beauty of the world, so much of which is in the color blue.”

Rebecca Solnit, A field guide to getting lost, Londen: Canongate. 2002. p 29.

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Risograph Series

Robert Schlotter — Tue, 28 Apr 2020 16:13:42 +0000

Photography arises from a registration of light but presupposes further processing with processes that are photographic or not. Marco Jacobs combines screen printing and photography. The image can become abstract. The spectator then sees spatial relationships between planes, colours and lines, which no longer refer to the originally registered object.

Photography is born from a light recording but requires a later treatment, whether photographic or not. Marco Jacobs combines screen printing and photography. If in this process the image becomes abstract, the viewer observe space relationships between surfaces, colors and lines, which (almost) no longer refer to the original recorded object.

Photography starts from a recording of light but supposes a later processing, photographic or not. Marco Jacobs combines screen printing and photography. If in this process the image becomes abstract, the viewer observes spatial relationships between surfaces, colours and lines, which (almost) no longer refer to the object originally recorded. — Peterjan Perquy, LUCA Library Sint-Lukas

Der Beitrag Risograph Series erschien zuerst auf malenki.net.

Eternal Error — Collectors Edition

Robert Schlotter — Fri, 10 Apr 2020 21:32:54 +0000

The individual works move consciously at the border of the photographic image. They are lab experiments, developed from moments where the light, the chemical process of development, dominated the depicted. Photography is always an entanglement of visibility and invisibility, visualizationand withdrawal, knowledge and imagination: as often as photographs are seen, they are also testimonies of a past that remains unobservable. Concentrating on the visibility of the image often leaves the process of visualization too short, ignoring the production process in favor of what you see in a photo. The work places these questions at the limits of visibility, at the borders between the intentional and the unintentional. It switches perspectives, manipulate pieces to let the material compete against the sign: the view as a gateway for inevitabilities of all kinds.

Der Beitrag Eternal Error — Collectors Edition erschien zuerst auf malenki.net.

CUT #1

Robert Schlotter — Tue, 31 Mar 2020 16:38:30 +0000

By using transparent paper the work Cut#1 expands the principle of montage to a further level: Each of the composite and printed image leaves its trace on the following page like a translucent shadow. Each side view is part of another view, each montage becomes part of another image constellation, which is composed from fragments and the integration of the sheets’ blank parts. Viewing and no longer seeing, realizing and no longer recognizing create an open field for perception. — Heidemarie von Wedel

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Farbtafeln

Robert Schlotter — Wed, 24 Aug 2011 10:24:24 +0000

Conrad Müller’s art creates an abstract reality beyond time and space. His works provoke through the unusual combination of analogue and digital techniques. They evade the depicting function of photography and instead require a special concentration of the gaze and a deceleration of perception. Conrad Müller was trained at the art academy Düsseldorf.

Der Beitrag Farbtafeln erschien zuerst auf malenki.net.