Christine wieland’s painting stories evolving free

Christine wieland's painting stories evolving free

Stories / Fragility

Christine Wieland "Stories

Introduction of Dr. Margrit Lurz, art historian and gallery owner

A nomad is a wanderer from place to place, always ready to abandon his campsite to seek a new path and discover new things. His life, his work are neither bound to nor dependent on a particular place. Christine Wieland loves the nomadic, just this variety, the unbound. She tells moving and colorful stories, her "Stories", without constraints of adaptation.

Heimrad Prem's thoughts about the process of painting may also apply to Christine Wieland: "Before you start painting, you don't know what will be created in the end. It's like falling asleep, you can't plan ahead the dream you will have. When you are now in the middle of painting and have already forgotten that you once had a pictorial intelligence, you reach with somnambulistic certainty for the color that you would never have discovered even if you had pondered for hours with your reason." (1)

Christine Wieland's painting stories develop freely, step by step during a sometimes lengthy process, they grow between abstract thinking and figurative perception. Titles also tend to emerge as the work progresses with the storyline. It is not always easy for the viewer to understand the "Stories" to decipher the image counts. Only with longer consideration it will be integrated into the "Stories" "read in" and to be able to start a dialogue.

"Painting means for me to register the experience analogies and differences and to bring a product to the emergence, which – released from the painting process – for the viewer as well as for the painter himself as a reflection of human experience of existence presents and offers. So it seems to me "Painting a process whose essence is exploratory action – exploratory action as a result of open analysis", so far the informal painter Fred Thieler. (2)

Christine Wieland, for her part, explores the depths of the work and develops calligraphic pictorial structures by drawing strokes with oil pastels and layering them on top of each other, on the other hand scratching the white surface and exposing forms, evoking memories; stories are told with minimalist means.

It shares with the contemporary American artists the preference for large formats, because they allow a great breath of air. A scene can develop on one side of the canvas, which finds a completely different continuation on the other side of the painting. Here a story can develop on several plot places, a long, thoughtful work process can flow. The viewer will let his eyes roam freely over the work of art and learn to read off connections that run across the surface in a more or less colorful arc of tension. The artist eludes the usual stylistic criteria of modernity. Relying on their own experience of seeing. Spontaneously follows its intuition.

"Technic is a result of need", says Jackson Pollock. Christine Wieland uses the technique of layer painting. It works its way from the lowest -colored- layer by partially covering it with white paint through several layers to the final step, the drawing, which is done by frottage technique, scraping out the underlying paint and using oil pastels. The color palette of the "Stories is very different. The painter knows that color appeals directly to the senses of the viewer and can thus prevent the normal reading direction from left to right, as in literature. Sparse colors on the canvas serve to see and read rather large. On the other hand, a strong color scheme, here u. A. Produced by large-scale removal of the white surface, the statement of a work.

Foremost in Christine Wieland's work is often flying, which is figuratively what she considers her work to be as well. Back from the visual space in her studio she often brings a completed "story" with.

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