SCHUMACHER MARTINA
TRUE BLUE
jusqu'au 3 novembre 2011
TRUE BLUE
jusqu'au 3 novembre 2011
Walking into Martina Schumacher's solo exhibition True Blue at Heidigalerie in Nantes, the viewer encounters, to the right, two of Schumacher's Circle Mirror Pictures, a series of mirrors constructed from acrylic glass on lightweight wood panel and consisting of symmetrically arranged concrete shapes in various preset industrial colors, cut by CNC assembled by Schumacher in accordance with meticulous sketches. Through a delicate, mandala-like ornamental intercourse of form and color, regions of the psyche are stimulated to enable contemplation and ego-dissolution.
My work develops from an extended painterly thought process. I am concerned with giving new impulse to painting, redirecting its unfoldment by reevaluating its parameters. The ineluctable components are color and surface composition.—Martina Schumacher
That Schumacher's paintings reflect light is why she calls her body of work, from all of her series, spatial mirror paintings.
The works entail reflective materials, the most recent being vast pools of pure liquid ink. The extension of space through her mirrored surfaces is always a prevalent factor. The imaginary and the real—equal products of projection—mingle in a spatial mirror painting, ensnared in its reflective surface and subconsciously coaxed into dialogue by the entranced viewer.
On the ground to the left of the front room is a selection from the ink pool series—"Tinten-Spiegelbild Nr.4," an automotive steel construction, several centimeters in height, filled with pure liquid blue ink, reflecting light from Schumacher's other works, the ceiling and pillars and walls, fixtures and moldings and other persons who happen to define the room. It is clarity and silence that are conferred to us by the ink pool series introduced in True Blue, giving rise to an unexpected holy reverie.
Asked about the stillness embodied within these works, Schumacher points out,
My objective is always a strong work that conveys the underlying mysteries of beauty.
(...)
David Woodard
>> lire la totalité du texte
My work develops from an extended painterly thought process. I am concerned with giving new impulse to painting, redirecting its unfoldment by reevaluating its parameters. The ineluctable components are color and surface composition.—Martina Schumacher
That Schumacher's paintings reflect light is why she calls her body of work, from all of her series, spatial mirror paintings.
The works entail reflective materials, the most recent being vast pools of pure liquid ink. The extension of space through her mirrored surfaces is always a prevalent factor. The imaginary and the real—equal products of projection—mingle in a spatial mirror painting, ensnared in its reflective surface and subconsciously coaxed into dialogue by the entranced viewer.
On the ground to the left of the front room is a selection from the ink pool series—"Tinten-Spiegelbild Nr.4," an automotive steel construction, several centimeters in height, filled with pure liquid blue ink, reflecting light from Schumacher's other works, the ceiling and pillars and walls, fixtures and moldings and other persons who happen to define the room. It is clarity and silence that are conferred to us by the ink pool series introduced in True Blue, giving rise to an unexpected holy reverie.
Asked about the stillness embodied within these works, Schumacher points out,
My objective is always a strong work that conveys the underlying mysteries of beauty.
(...)
David Woodard
>> lire la totalité du texte