June 16 until September 15, 2016
The exhibition RealFiktional confronts paintings by Thomas Reinhold and objects by Julie Hayward, fathoming the artists’ common ground.While Thomas Reinhold’s paintings unfold virtual spaces by means of multiple overlapping layers of paint, Julie Hayward’s sculptures extend painting into the sphere of the concrete three-dimensional. Painting and sculpture are no longer perceived as isolated from each other: they intersect in terms of space, form, and thought and thus give rise to a new in-between world in which one can find one’s way perfectly naturally, as if in a dream.
Despite all differences of their media, the artists share the same approach: “What our works have in common is that they emerge from a state of suspense in which the unconscious and the conscious merge. The unknown arising from it becomes concrete only when being transformed into materiality. Bringing our works together establishes a utopian and at the same time somewhat uncanny hyperspace.” A parallel world opens up which is very real for both artists: a fictional space of sculpture or painting in which they operate in complete control.
Julie Hayward’s cyborg-like beings have an organic as well as a mechanic aspect. Evoking science-fiction scenarios, her technoid objects trigger ambiguous feelings: while they rouse unconscious fears on the one hand, humor and irony are essential ingredients of her bizarre inventions on the other. They evoke technical processes, perhaps of machines that might start to move but are resting at the moment. Yet the functions suggested by concrete objects and apparatuses have more complex origins than mechanical gear units and physical energy. “I represent interior processes, emotional constructions, and existential issues. The nearly constructive form of the objects lending form to the unconscious sheds light on processes that are usually impossible to grasp.” Julie Hayward’s drawings, which provide a starting point for her sculptural works, are the product of a psychological automatism, while the titles provide some key for their interpretation.
The works by Thomas Reinhold presented in the exhibition RealFictionalare part of his workgroups Tektonik der Schwebe (Tectonics of Suspense) and Transport und Kommunikation(Transport and Communication), in which he reflects the genesis of the works in a way understandable to the viewer. He props up the canvas on boxes, pours paint onto it, and spreads the paint by lifting the frame. When the paint comes to a dead stop, the artist is granted some moments to pause and consider his decisions. “What I am interested in is the intermediate zone in which forms arise that seem to be suspended between trickles. Relying on contemplation and lucid dreaming, I walk a narrow line creating pictures raised from the unconscious in a way as immediate and direct as possible. My painting knows no rational transformation, no abstraction, but aims at nestling in the realms opposed to that of perception to establish its reservoir there.” The communication mentioned in the title of the workgroup occurs when the repetition of the process described above results in an overlapping and exchange of colors and turns the consecutive steps of the artist’s process into a spatial experience for the viewer.