Julian KholSalon
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Julian Khol

"Wer steht, wenn alle sitzen"

October 11th - November 20th
Opening reception for the artist:
Friday, Oktober 10th, 6 pm

Hamburg

 

About one year ago a determining change has entered into Julian Khols artistic practise: He has conquered the picturesque space for his pictures. Before the painting defined itself as an accumulation of informal marks of the artist on the image plane – poured, pulled in dynamic brushstrokes, always troubles around a certain figurative form. Besides, a clear figure-basic relation was to be ascertained: a coloured parrot, a red eagle with far very wide wings on a level monochrome reason. A graphically certain image with label character. Expressionist guidelines were to be recognised here always – unloadings of the line in the tradition of de Kooning, Appel and Baselitz. At the beginning the energetic paw branded the canvas with the "I" of the artist; a loud assertion as a territory mark for the painting. This loud gesture has itself within the last year clearly calmed. A large-size light-saturated landscape from the last year already testifies this.

Khol has formed the picture foreground with down running colour zones from whose tracks plants form, illusionary elements flash, but there is not a much too strong urge to copy nature. Since everything originates here from the painting, from an intuitive putting of the paintbrush on the canvas. But the artist lets in this work copaint the picture, by letting the paint run free in some areas, but consciously steered. Now everything seems stronger structured, more sensitively, closer, deeper. The painter always beginns with something concrete. The unaware jump off would lead him in a marshy indifferent dead end.

This is also to be recognised with Khols current work block. Initiator for this has been a small maple tree in the parking bay before his studio of which he had taken a photo on a rainy day. A washed out source situation which seemed to the artist in his action good. Laying the canvas on the ground, he set to work, wet in wet. In the drying process wrinkly skins formed as islands on the picturesque film. The graphic structures of the small tree resolved in free painting, thus as the oil-drunk picture would just have thrown an aspirin to the haemodilution.

Fluency, process, abstraction instead of static motifs. The picture does not let itself lash down and cast in concrete, there remains an open organism which opens a picturesque space. This space swallows and spits out at the same time the given image again – for the painting.

 

Text: Florian Steininger