Yellow Snow Text
©Patricia Ellis 2008
For Patricia Low Contemporary
Patricia Low Contemporary is pleased to present Yellow Snow, a special curatorial project by Thomas Zipp, featuring work by Hanna-Mari Blencke, Peter Chevalier, Gotcha Gozalishvili, Thilo Heinzmann, Thomas Helbig, Manfred Peckl, Gregor Warzecha, Phillip Zaiser, and Thomas Zipp.
Appropriating traditional modes of painting and sculpture as a platform for contemporary reinvention, Yellow Snow explores the epitome of beauty as a tainted and subversive dimension. Through these artists' rich and eclectic processes of making, material is treated as conceptual form, and craftsmanship the height of articulation. Positing intuition and ritual as sublime reflections of spirituality, modern myth, and heroic aura, Yellow Snow describes a liminality of perception, blurring the personal and authoritarian, the idealised and abject, as contemplative fields of anxiety and desire.
About the artists:
Blencke's works bridge both narrative and formal concerns; the extreme physicality of her painting's surfaces is often juxtaposed with clinically elegant sculptural constructions, creating a balanced play between impulse and order, subconscious intimation and cultured restraint.
Infused with a sense of romantic grandeur, Chevalier's masterfully executed canvases take the illusory qualities of painting to the extreme. Through his earthy palette and surreal compositions, his work unfolds with arresting spatial tension, synthesing in surfaces that are paradoxically concrete and volatile.
Rendered with rare sensitivity, Gozalishvili's intuitive abstractions resolve as totemic mandalas. Presenting painting as an unblemished field of unrefined purity, his simplified motifs emerge with the scantest intervention, offering the subtle nuances of colour, texture, and form as compulsive fixation.
Heinzmann's minimal compositions are flamboyantly punctilious. Made from media as diverse as glass, rock crystal, cairngorm, and aluminium, his collages exude polished luxury, setting aesthetic connoisseurship as a fetishisation of material substance and visual rectitude.
Posing as sinister and futuristic relics, Helbig's sculptures and paintings are made from common debris and found materials, implicating the stuff of everyday in his haunting icons of power and corruption.
Peckl's sumptuous images are fabricated from shredded atlases, literally reconfiguring world order as disorientating landscapes and lusty portraits, transcribing global breakdown as consumptive and rapacious wonder.
In Warzecha's paintings and drawings language is dissolved into corporeal expression. Through his highly idiosyncratic use of spontaneous mark-making and fragmented text and images, his works establish a profoundly discerning lexicon of artistic authenticity and assertion.
Often drawing from his own suburban narratives Zaiser's sculptures resound with theatricality. Through the raw physicality of his materials his works impose a sense of escapism or surreal encounter, rendering the fantastic in opulently tactile compositions.
Working across a wide range of media, Zipp's work engages with an extravagant networking of ideas - ranging from history, science fiction, psychology, and subculture - creating complex fictional intersections between aesthetics, ideology, and ritual.