FUTURE_2
ON THE EDGE OF LIGHT
Constanze Victoria Thieleke
Ted Green
Painting
28.03.25-11.5.2025
Opening Fr 28.03.25 7pm
Introduction to the exhibition: Melissa Blau
Opening hours: Thu.+Fr. 3-7pm, Sa. 1-5pm
Are painted pictures characterised by a particular temporality, and if so
which? Future_2 the edge of light is an exhibition of works by Ted Green and Constanze Victoria Thieleke and, whose common ground is a painting that emphasises its own metrics and presents itself as an accumulation,
overlapping and condensation of rhythms, intervals and processes. verstehen gibt.
Ted Green's dynamic and lively pictures are based on a way of working which, starting from a grid structure, places serial forms next to and on top of each other in alternating and interweaves them In doing so Green uses stencils that go back to his fascination with biology and have already been used in earlier series of works, which means that the pictures complex interplay between necessity and contingency is inscribed in the contingency in the pictures from the outset. This combination of repetitive structures and freely fluctuating forms is reminiscent of the opposing traditions of concrete art and expressive painting in equal measure. The picture appears as a fluid medium or organic matter, on whose the swirling surface of which the abundance of life is configured in a pulsating manner. This rhythmic time In Thieleke‘s painting is contrasted with the time of persistent continuity. She works with overlapping hatchings of coloured pencils and pastels whose unobtrusive colourfulness is deeply anchored in the raw canvas giving the works a gentle sensuality that is rough and vulnerable at the same time. Through the subtle use light sources, the pictures become scenes from whose imaginary depths the gradually emerge from the imaginary depths. and works on joined lengths of fabric. On the one hand, the edges are part of the composition, but they also emphasise the raw the raw resilience of the material itself, with the fraying ends reminding us that that every picture ends somewhere and disappears.
In the history of abstract painting, one of the questions we encounter is, from which it draws the necessity and validity of its respective formal language a discussion that is closely linked to the concepts of authorship and originality. It is remarkable that both Green's and Thieleke‘s works are ultimately based on a personal painting process, it is noteworthy that both hand over decisive parameters of design to external factors, which restrict the personal decision. Green works with templates, and Thieleke works in connection with the material conditions of the subject matter. In a sense, one could say that the picture and its material conditions are themselves involved in the creation. Furthermore, the language of form which is characterised by intervals and repetitions, refers to the processes of industry and machines. In this sense, the exhibited works, the order of the mechanical is contrasted with the order of manufacture - the hand of the artist - and placed in a larger anthropological context.
Melissa Blau
