Another not finished... it's constantly happening

Text for the project "A Villa - West and Eastern Introspection"

The project „A Villa - West and Eastern Introspection“ consists of drawings, photography, painting, sculpture, architectural/interior design, and moving image.  This is an attempt to bring the western and eastern thoughts and techniques, furthermore my own personal western and eastern background into forms of visual presentation.

„Borrowed Landscape“ depicts the parallel between the imperial Katsura Villa in Kyoto, in which was commisioned to build in 17th Century by Prince Toshihito Hachijo, and the landscape painting by Camille Corot.  I developed the notion of „Landscape“ as a site of introspection - a construction invented as a space for reflection.  The Villa is a retreat designed to reclaim a fictional villa, in which is mentioned in the 11th century novel, „Genji Monogatari“ by Shikibu Murasaki.  The video projection is an investigation to search and rediscover Camille Corot‘s landscapes.  The work embodies the longing for the past and symbolizes the absence.

Form and its construction of Katsura Villa are determined by simplicity and clarity.  „o.T. (ca. 68% reduced)“ is a scaled down shelf and floor, that is in the Katsura Villa.  By reducing its scale, it will avoid the concept of furniture, but notifies more as an architectural sculpture, in which can be observed from inside and outside.

Not finished

facing away from the reality

                   

Eine Villa - west-östliche Introspektion

Text about this project will be coming soon...

Unknown place

Dark and dim

 

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Remake in smaller version

I'm not exactly sure, if I should be remaking my previous painting on photography works, because they're unique works, but since I had time and out of curiosity, made smaller versions of them, for now these two.  These are about 35 x 45cm and mounted on MDF-plate of 12mm thickness.  It was interesting how I confronted these motives, because I knew which elements will be painted and how on the prints.  However, there is no way I could paint it exactly the way I painted for the originals.  I was more confident on what I do, but therefore became more rough, but in a good way.  I got into a good rhythm, so that I was able to choose more different colors and directly paint them on the prints.

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I think I can learn many things about how I paint and how I choose the colors by doing this "remaking".  I think to myself, is it the colors that gives the impression of the picture? or the motives itself? or the theme behind it's surface?  I want to change the tone of the picture, but no matter which color I choose, it stays so dark, gloomy.  I want more lightness, in which applies for the tone and the weight.  I got to learn more about colors...

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Is the paint used to define something?  What I painted defines or depicts something?  They are colors.  Very abstract.  They compose.  The realness or figurative-ness is within the photography.

The last, but not the least!!! From the painting on photography series on desert.

These will be the last works from the painting on photography series on desert. They are not quite finished yet, since I haven't given them titles and I am feeling that they need another small aspects to be delivered on to the picture. When I know the title for them, maybe I will know what I could do. I need to operate the motives.

They look like this. This time mounted on MDF-plate and in 40 x 50cm.

Text on my work on "Painting on Photography" in English by Kilian Ochs

Cognition is inseparable from the psychology of the will.

Considering that perception of reality is, in its essence, construction of the real – what does this mean in regards to the photographic image which is indeed nothing else than a direct impression of the reality onto a photo-sensitive layer? How can one transpose the indifferent aversion of “objectivity” – to which the photographic image bears witness – into an image space of tangibility? What methods need to be used in the imaging process to allow for this concretion, and what kind of stimulus appeals to an observer when looking at an image which contains and concerns the representation of his own perceptive process? How will this feedback feel like?

In Wataru Murakami’s images the indifferently detached – the object of the hidden per se: the landscape – exists as it were immaterial, almost abstract, that is, a technical printing product, emanated from the photographic process which is at least to the same degree of immaterialist nature. “To fetch and bring the detached object” means: to materialize it, to attach it to the tangible, to found it in the comprehensible, to “set it up”. Through a manual color application, Murakami perfects the photographic image with something that it rejects and represses on its own. He provides weight to it and makes it truly present.

The view of the yearning subject (and the subject is deeply yearning by nature) is hardly perception, but essentially construction and “setting up”. He who obviously yearns constructs landscape, rather than imagining it. The “representing” image which usually blocks the way between the incomprehensible and the view, must be skipped. Murakami’s images do neither represent landscape as an object nor do they present it as a tamed, domesticated rip-off of itself. The landscape rests in its own nature and is being brought here in its foreignness and closeness. That is only possible because in every image, the process of construction of the real is implemented in its action, instead of being presented in its results.

It is, however, the nature of this construction of yearning, that, in return, it wants to hide from its creator and describes its results as something pre-existing to him. The impact of the subjective on the objective is gentle but powerful, subtle but brutal, inconspicuous but essential, denying but truthful.

Kilian Ochs, 2011

Rough sketch from project on residencial substances

on wall paper and shelf:

Architecture has been thought and build by its restriction from society and times, and it lives through livings among people and communities of its era. With this thought, I became interested in working on Japanese residences from 17th Century, where barely western civilization had its influence and more concentrated on buddhist tradition and shintoism. Of course also thought on convenience and simple construction with many handcraftmen, who are not much trained.

The wall paper is photocopied from a book and the background color is manipulated into different colors. These are currently printed with normal photographic printer, but is thought to be made with silkscreen print later on. This work will resemble its design through photographic and painterly approach.

The shelf is compiled with MDF-plates. The dimension of the size is 40% of an original shelf (will probably be 60% later on). This will be hanged on a wall as an exhibitional object. Originally, this is placed on the ground in corner of walls, but as one of the side distantly removed from a wall, this gives an architectual perspective, in which also shows the inside of the shelf. Also emphasizes lineal element.

Simple plan with simple material.

on Desert

Die Serie von drei Bildern besteht aus Malerei direkt auf Fotografien. Sie ist Teil eines 2009 begonnenen Projekts,  in dem ich eine künstlerische Herangehensweise erprobe, die Fotografie und Malerei als visuelle Materialisierung von Realität und persönlichen Vorstellungen, Wahrnehmung und eigener Geschichte begreift. 

Im Herbst 2011 hatte ich die Chance, mit einer Gruppe von Fotografen und Architekten nach Jerusalem zu reisen. Wir besuchten palästinensiche Flüchtlingslager und auch Orte von religiöser Bedeutung in Jerusalem. Ich war schlecht informiert über die politische Situation und über die verschiedenen Religionen und Bevölkerungsgruppen in Israel, so dass ich die vielen Eindrücke kaum bewältigen konnte. Die mannigfaltigen und komplexen Konflikte in Israel ließen mich verzweifeln darüber, wie ich dort existieren und arbeiten kann. 

Die in der Wüste aufgenommenen Fotografien, zeigen meine Reaktion auf dieses starke Gefühl der Entfremdung und meine Flucht davor. Sie zeigen meinen Versuch die Überforderung zu bewältigen und mich selbst wieder zu finden, an einem neutralen Ort, an dem ich sein kann, wo kaum etwas existiert, als eine Landschaft, eine Komposition.

Nachdem ich meine entwickelten Filme bekam, konfrontierte ich sie als ausgedrucktes, viereckiges, flaches Bild mit meinem Geisteszustand und reagierte erneut auf den Eindruck, den die Landschaften bei mir hinterlassen: Ich male intuitiv aber bedacht direkt auf die Ausdrucke, um entweder meine eigene Idee der Form der Landschaft zu intensivieren, um Elemente innerhalb des Bildes zu verbergen, oder um einen phänomenalen Aspekt zu finden und entstehen zu lassen.

*

散文詩

草原を見つめている。
空気はとても澄んでおり、青空と緑の草原が、視界を通して気持ちよく身体の中に浸透していくのを感じる。

スー

心地よい、とても軽い風も吹いている。
何も考えることはない、ただ、今の状況を身体全体で感じている。

左隣から、優しい視線を感じる。
そちらの方へと振り向くと、彼女はこちらを見つめている。
そこには、綺麗に形が整った顔に、柔らかく崩れた純粋な笑顔があり、力強く、一直線にこちらを見つめる輝く目があった。

そこから目を離せないでいる。
その存在が、全身を包み込んでいることを知る。
その顔の頬に、軽く口付けをすることを許されている。
そうすると、二人は徐々に光り輝く塵となり、草原を舞っていた清らかな風に吹かれて、青空へと舞っていく。

視界は爽快に、その草原を通り過ぎていく。
青空を見つめていた視線を前方へと変えると、自転車を漕いでいることに気がづく。
身体が何かに締め付けられており、強く緊張している。
唐突に自転車から飛び降り、その勢いと共に全身の力を振り絞り、その自転車をできる限り遠くへと投げつけた。

全ては無力となり、膝から地面へと、崩れ落ちる。

土に全てを任すことはできる。

「私は空気になることができない。」