"Now the earth was formless and empty,
darkness was over the surface of the deep,
And (he) said, "Let there be light," and there was light.
(..) saw that the light was good, and He separated the light from the darkness.
(..) called the light "day," and the darkness he called "night."
And there was evening, and there was morning-the first day."
(OT, Genesis 1: 2- 5)
Marcus Sendlinger (born in 1967, Königstein) will realize his soloshow Genesis at the Jette Rudolph Gallery in Berlin. The new works deal with the idea of abstraction, which gets its representation from the levels of the picture and generates itselves into the form of sculpture.
By this way a cosmos is emerging while breaking open the linear structures of the former images of Sendlinger to extract the essential from reduced- geometric forms so at least an "inner reality" becomes visible. The recipient is set in front of an apparently chaotic conglomeration of falling lines and faces to associate a diffuse interplay between fore- and backgound.
Sendlinger stages his works into a black exhibition cube, so the canvases and sculpture assume into a symbiosis with the surroundings. In the context of this staged atmosphere an optic interplay of cubic and crystal forms is enforced between compression and delineation. The dissolution of the pictorial space creates a maelstrom from the twodimensional flatness of the image into the threedimensional space. At the same time the medium of colour becomes reflexible not even from its individual but also from its emotional quality- and its universal quality because of its plastic description.
It is the idea of making art perceptible as something universal to leave the civil narrowness behind which drives Sendlinger to communicate his abstraction to the individual recipient: he wants to give the perception of things a materiality and not a prefabricated frame which could be fast categorized- in contrast to put things into a cosmic illimitable perception
It is Sendlinger's idea to perceive art as universal and to leave bourgeois restriction behind, or to prehend lending the perception of things into prefabricated frame. He doesn't want things to be recognized in a fast way, but rather to set them up in a boundless cosmic perception. Thus Sendlinger's art works become accessible to individual's perception, comparable to the expierence of visible reality.
"(...) In my new series of Black Paintings (...) I moved away from the former spatial illusion based on outside perception in favor of a reduced and basically black grounded spiritual room, an universal dimensionalism. (...)"
(M. Sendlinger, on his serie of "Black Paintings", 2007)
While relating to the Cubism and the Russian Suprematism as well as inspired by the works of Andre Masson from the end 50ties, Sendlinger deals with the phenomenological reduction of painting to scale down the medium to basic structures like the idea, the ground, the space, formalism, simplification, radicalism, rhythm, effect and mystery. The artist's goal is to discover new immanent conditions for the concept of painting; at least each image generates from its own legislation.