Konrad Fischer Galerie is pleased to present "SEE", the second solo exhibition of the Düsseldorf-based artist Paul Czerlitzki (born 1986 in Gdansk).
In his painting Paul Czerlitzki takes a small step back from the question of which colour is to be applied to a receptive ground in which constellations. Coloration and brushwork, abstraction or figuration are not subjects of primary interest. Czerlitzki makes painting before beginning to paint. It is apparently about having to do with something that is as simple as possible. This simple thing is paint (colourful material) on a support (canvas). But with that, from the beginning something else is involved; fundamental is an original breach within painting. Painting stages the dissociation of its simplicity and thus opens a field of possible displacements. The concern is to reconfigure the unhooked elements of the painterly apparatus. Not just any way, but as touch, through touch, a close handling. The procedure is methodical, organised in different groups of pictures. Carrying out a planned process, mechanising the practice, removes the obligation of spontaneous subjectivity. Subjectivity is retroactive; it emerges as the effect of a result. (Ulrich Loock)
For more than ten years, the artist has been exploring the effect of monochrome paintings in his "Untitled" series. "See" here also means a reunion with the early works begun ten years ago, which were created according to the same concepts. A second untreated canvas is stretched on top of a primed canvas, which is then painted through with acrylic paint (here shades of grey, black and silver), so that a veil of colour of varying intensity, which cannot be completely controlled, appears on the lower canvas, in the true sense of the word "depicted". The partly quite irregularly structured linen fabric creates a negative, an echo of the distant canvas, presence and absence at the same time.
With his series "DELAY" (since 2019), the artist documents the working step before the works of his "Untitled" series. The canvas used for painting through is left on the canvas below. So underneath a "DELAY" is another possible "Untitled". Traces of handling become visible on the monochrome black or red canvases: fingerprints, marks left by stretching the canvas, barely visible imprints of objects that take on clearer contours the longer the viewer looks at the works.
The works in the "RELAY" series of works have been created since 2019 and continue earlier works of the same concept: white primed canvases are laid on the floor of the studio over several months and sometimes over more than a year. While working on the groups of works, which are often executed using a compressor, colour pigments float through the air of the room, which after a certain time settle on the canvas. The resulting picture surfaces are not fixed and are vulnerable in their openness. Changes caused by transport, handling and packaging, by touching or vibrations are consciously accepted, leave traces, inscribe themselves in the "biography" of the picture. The pictures open up to the space and to the viewer.
Works by the artist can be found in the Collection of Contemporary Art of the Federal Republic of Germany, the Kunstmuseum Bonn, the Collection of the Kunstakademie Düsseldorf, the Kadist Foundation and the Collection Ricard, Paris, the Collection Billarant Le Silo, Marines, the Fondation CAB in Brussels, the Philara Collection, Düsseldorf and the Collection of the G2 Kunsthalle in Leipzig, among others. A catalogue on the exhibition "SEE" and the artist's more recent works will be published by DISTANZ Verlag in summer 2021, supported by NEUSTART KULTUR programme of the Stiftung Kunstfonds, Bonn.
With the kind support of
In his painting Paul Czerlitzki takes a small step back from the question of which colour is to be applied to a receptive ground in which constellations. Coloration and brushwork, abstraction or figuration are not subjects of primary interest. Czerlitzki makes painting before beginning to paint. It is apparently about having to do with something that is as simple as possible. This simple thing is paint (colourful material) on a support (canvas). But with that, from the beginning something else is involved; fundamental is an original breach within painting. Painting stages the dissociation of its simplicity and thus opens a field of possible displacements. The concern is to reconfigure the unhooked elements of the painterly apparatus. Not just any way, but as touch, through touch, a close handling. The procedure is methodical, organised in different groups of pictures. Carrying out a planned process, mechanising the practice, removes the obligation of spontaneous subjectivity. Subjectivity is retroactive; it emerges as the effect of a result. (Ulrich Loock)
For more than ten years, the artist has been exploring the effect of monochrome paintings in his "Untitled" series. "See" here also means a reunion with the early works begun ten years ago, which were created according to the same concepts. A second untreated canvas is stretched on top of a primed canvas, which is then painted through with acrylic paint (here shades of grey, black and silver), so that a veil of colour of varying intensity, which cannot be completely controlled, appears on the lower canvas, in the true sense of the word "depicted". The partly quite irregularly structured linen fabric creates a negative, an echo of the distant canvas, presence and absence at the same time.
With his series "DELAY" (since 2019), the artist documents the working step before the works of his "Untitled" series. The canvas used for painting through is left on the canvas below. So underneath a "DELAY" is another possible "Untitled". Traces of handling become visible on the monochrome black or red canvases: fingerprints, marks left by stretching the canvas, barely visible imprints of objects that take on clearer contours the longer the viewer looks at the works.
The works in the "RELAY" series of works have been created since 2019 and continue earlier works of the same concept: white primed canvases are laid on the floor of the studio over several months and sometimes over more than a year. While working on the groups of works, which are often executed using a compressor, colour pigments float through the air of the room, which after a certain time settle on the canvas. The resulting picture surfaces are not fixed and are vulnerable in their openness. Changes caused by transport, handling and packaging, by touching or vibrations are consciously accepted, leave traces, inscribe themselves in the "biography" of the picture. The pictures open up to the space and to the viewer.
Works by the artist can be found in the Collection of Contemporary Art of the Federal Republic of Germany, the Kunstmuseum Bonn, the Collection of the Kunstakademie Düsseldorf, the Kadist Foundation and the Collection Ricard, Paris, the Collection Billarant Le Silo, Marines, the Fondation CAB in Brussels, the Philara Collection, Düsseldorf and the Collection of the G2 Kunsthalle in Leipzig, among others. A catalogue on the exhibition "SEE" and the artist's more recent works will be published by DISTANZ Verlag in summer 2021, supported by NEUSTART KULTUR programme of the Stiftung Kunstfonds, Bonn.
With the kind support of
