Galerie Max Hetzler Berlin | Paris / Holzwarth Publications, Berlin 2017
In his exhibition at Galerie Max Hetzler [exhibition: Christopher Wool, Galerie Max Hetzler, 2017], Wool presents works on paper, several large-sized paintings as well as a single small sculpture. His paintings, dated 2016 and 2017, are re-appropriations of an early group of works on paper made in 1986, the so called Rorschach series referring to Swiss psychoanalyst Hermann Rorschach. Scanned and enlarged by Wool, he uses them as compositorial elements within his new paintings. The works on paper from 2016 derive from a series of silkscreens printed in 2006. Ten years later, Wool returns to this selection and overpaints them with oil and enamel. By combining techniques of painting and printing, he dissolves the borders of both genres and refuses to maintain the distinctions attributed to each of them.
Publisher: Galerie Max Hetzler Berlin | Paris / Holzwarth Publications
Publication date: 2017
Dimensions: 28.7 x 22.8 x 0.9 cm
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The core element of Christopher Wool’s (b. 1955) work is the process of painting itself, which he explores since his early years by reducing form and colour, experimenting with different painting and more specifically on reproduction techniques: using silkscreen or pattern rollers, layering and erasing, covering certain motives with paint, then adding other layers on top. The range of techniques Wool has used over the years makes reference to processes and gestures that have marked contemporary art history. His complex work encourages the viewer to reflect on the physical qualities of paint, reproduction and to be aware of painting procedures and the essential elements of the medium: form, line and colour.
‘Christopher Wool’s paintings seem to capture visual urban experience, carved out of a moment for the duration of an artwork - an artwork that coverts the structures of experience into the structures of painting. Non-specific moments and impressions are lifted out of context and fixed into details of a painting that, unlike graffiti, conveys the speed and concentration of its origin only when it is contemplated over a measure of time in an art space. The dynamic of the picture’s conception becomes, very gradually, the dynamite of the thought it contains. Thought pictures.’
F. Meschede, ‘The Nothingness before nothing’ in Christopher Wool, Galerie Max Hetzler and Holzwarth Publications, 2007
Artist page on maxhetzler.com
Bleibtreustraße 45, Berlin
Exhibition page on maxhetzler.com