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Nusser & Baumgart (closed, 2015)

Private Gallery
Frank GERRITZ - Breeze of Light (13.4.2011)
Sidewinder, 2008
Sidewinder, 2008
  A Breeze of Light is all you need to change the effect of Frank Gerritz’s works. The dark surfaces that are drawn with pencil or paintstick over and over again, react immediately to the room’s dynamics by capturing the ambient light and every movement around them. Whereas at first glance they appear to be two dimensional and closed, they reveal to observers, depending upon their vantage, an indeterminable depth within which their vaguely mirrored faces act like an anchor.

Nusser & Baumgart is pleased to present Frank Gerritz (*1964) for the first time in the rooms of its gallery at Steinheilstrasse 18. The particular light conditions of our gallery rooms are especially well suited to the artist’s situational work conception, inviting viewers to discover the works presented here at various times of the day. In addition to the works on MDF with pencil and works on eloxal coated aluminium with paint stick we are also exhibiting a series of drawings on paper and a sculpture from the 1980s that is particularly relevant to the artist’s oeuvre.

In his text for the catalogue of the current solo exhibition< of Frank Gerritz’s works at the Musée Tavet Delacour in Pontoise, running to the 5th of June 2011, Christophe Duvivier describes the corporeal experience rendered possible in the artist’s images as the “human aspect”. The observer senses a strange physical attraction to the black surfaces that is based upon their underlying proportional structures. Gerritz adjusts the sizes of overall and partial surfaces to the proportions of the human body.

Equally attractive is the effect achieved through the materiality of changing surfaces. Gerritz is a master in dealing with materials and their individual specificity. Breeze of Light (2010) admirably demonstrates the physical composition of eloxal coated aluminium both directly in the thin 4mm blank lines and indirectly through the material combination of carrier material and paint stick. The artist also underscores the quality of aluminium in the emphasis of the size of the sheets. By continuing the lines of the paint sticks on the edges Gerritz calls attention to the three dimensionality of the image carrier in contrast to the two dimensionality of the material surface of the drawings. Here we are dealing with precision work; the meticulousness is obviously a reflection of the precise manner in which the artist has treated the face of the aluminium plate. Stroke for stroke, the drawing solidifies into a surface that reflects or absorbs light.

In these works, which critically question the operating system of art, the artist’s sovereign ability to deal with art history is manifest. But Gerritz not only further develops methods of critiquing institutions; moreover, he also modifies the strategies of concept and minimal art, not to mention the additional allusions his works contain to artists like Barnett Newman or Ad Reinhardt and to abstract art in general. Here again, within the discourses of art history, Frank Gerritz’s works go deeper than the surface, providing a complex weave of the most diverse references and points of view.
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