Axel
Reusch
The works by Axel Reusch could be named pictorial objects.
They are “profane” objects of everyday life, objects “off the street”. The selection of the object is fragmentary and intuitive.
They refer to abstract art as regards to the language of their forms and their association space, but also to representational art.
Usually representational art is associated with illusionism of colour in relation to the depicted object. The use of colour is in the “service of representation” and is reduced to a minimum at the same time in its illusionist effect. Light, shadow, space are real, more created than depicted. The abstract language of the pictures does not arise from an abstract approach to composition. But it refers to the formal characteristics of the given and chosen objects, like in a case of “art-composition”.
A further characteristic is the choice of painting carriers and their relation to painting. Carriers like MDF, glass, or aluminium are not just a means to an end but are an integral part of the picture through leaving colour out, or through the three-dimensionality of the carrier itself.
This ambivalent character of the work and its identity question results in its immediacy and proximity to life. It is all about seeing and last but not least seeing oneself while seeing.
They are “profane” objects of everyday life, objects “off the street”. The selection of the object is fragmentary and intuitive.
They refer to abstract art as regards to the language of their forms and their association space, but also to representational art.
Usually representational art is associated with illusionism of colour in relation to the depicted object. The use of colour is in the “service of representation” and is reduced to a minimum at the same time in its illusionist effect. Light, shadow, space are real, more created than depicted. The abstract language of the pictures does not arise from an abstract approach to composition. But it refers to the formal characteristics of the given and chosen objects, like in a case of “art-composition”.
A further characteristic is the choice of painting carriers and their relation to painting. Carriers like MDF, glass, or aluminium are not just a means to an end but are an integral part of the picture through leaving colour out, or through the three-dimensionality of the carrier itself.
This ambivalent character of the work and its identity question results in its immediacy and proximity to life. It is all about seeing and last but not least seeing oneself while seeing.
