AphrodisiacAphrodisiac
Previous Next

Aphrodisiac

Gunnar Borbe, Henriette Grahnert,
Eric Keller,
Michael Klipphahn,

Tobias Köbsch, Ekkehard Tischendorf

April 21th - May 24th 2018
Opening reception: April 20th

The exhibition sees itself as an inventory of contemporary figurative and abstract positions whose artists combine an inner desire for and on painting. The origin of this urge, the craving for color, the smell of pigments and the feeling of the brush in the hand, may not spring from an aphrodisiacal perfume, as in Patrick Süskind; it may rest deep in the soul or rumble at a cerebral angle, but the important thing is - the feeling is there.

As a further unifyinging element, the six artists all live and work in Dresden and for the first time exhibit together as a collective. The fact that Gunnar Borbe's medium is not only painting but also photography is reflected in his works. He masterfully captures the play of light, shadow and reflection, creating virtuoso snapshots and snapshots. His work balances on the border of eye illusion and is characterized by an intense detail naturalism. The paintings by Henriette Grahnert sometimes seem very abstract, but not always. She skilfully juggles traditional painting traditions and circumvents classical abstraction and concrete painting as well as minimalist traditions and bad painting, American color field painting and pop art. This is how she manages to unite opposites (and contradictions).

Eric Kellers pictures show not only places and people, also cityscapes and landscapes as well as portraits are among his motives. However, the artist is not only concerned with the illustration of a place or a person, but with the recording of experienced moments, moods and sequences. While his earlier works were still relatively detailed and concrete, the recent works show an increasing reduction. Characteristic is also the "homogeneous coloring" of his pictures. Michael Klipphahn's pictures seem like a promise that has been fulfilled; he makes visible the break between virtual and real image worlds or templates. His works testify to a surreal surreality of the pictorial, so that the viewer has to wonder whether he is looking at a hyperreality or a trompe-l'œil. With his photographic or cinematic image aesthetics, Tobias Köbsch, like other generations of artists before him, plays with the principle of illusionism, the deceptive appearance of reality. But the technical brilliance of his painted or plastic tableaus never aims at deceptive seduction into imaginary worlds, but at a critical snapshot of the current relationship between image and world consciousness. Ekkehard Tischendorf creates pictorial worlds in a field of tension between dream and fiction, allegorical as well as ghostly moments and romantic motifs. For the artist, this is not about the demand for a realistic depiction of everyday reality. Instead of depicting reality, he creates a completely new world that springs from his imagination, with its own regularities - even if it is based on the viewer's world of life. Composition, color and color tell their own story(s).

Love, longing and ectasis were always popular motifs and subjects in art and literature. Not just Homer and Plato were already arguing about the nature of Aphrodite, about their figure of Botticelli and Rubens. For at least that long, people have a fascination for triggering corresponding feelings in a loved one. Parallel, artists have always sought to reflect this apotheosis in the form of a world of visual and sensory pleasures and curses. The Evelyn Drewes Gallery is looking forward to the contentual approach of her artists á jour and to an exciting exhibition.

(Nele Müller)