November 22nd - January 31st
Opening reception for the artist:
Friday, November 21st, 7 pm
It has become usual to describe not only painted pictures, that have been painted, but as well every artistic production to which one can approach with paradigms of the painting whose shape is determinded by colour, form, sharpnesses and unsharpnesses. An artist puts the cutting of his negotiations, determines a format, a beginning and an end ot the process of the production. With the pictures of Michael Peltzer we are undoubtedly facing paintings.
Because in the meantime, even to the last of us might have become clear that the light of our world falls quite seldom directly on to our retina, the question concerning the motive positions itself postmodern in a strange way. Even better: to correspond to the style of our decade, the question for the motive of our present describes itself that strangely postal-internet.
Before Michael Peltzer allows these questions, he pours paint on primed linen and forwards himself from the potential to the figurative in the basis of the paint material, rather than fingerin in a much to sweet syrup consisting of zeros and ones. This is because the turns high and willingless. Peltzer watches movies, which he knows long ago from tube tv sets and uses them as motives as if it is a given thing and if those films have not been produced anytime before. Thereby he checks the putative given being of canonised pictures and her consistency. He puts them in to the reality of his painted stories and adopts them.
A Filmstill of any film classic can wake up memories in Peltzers paintings and vice versa, because Peltzer does not dare to take decision. Whether it really concerns a specific film clip, is it Batman or human blood, won't neither be confirmed nor denied. A presumably big thing in an intimated, black-and-white held scenery could show a crouching monster in hippie gear or it may be a number of ice balls with coloured crumble as a topping. In a similar coloured picture this big hippie monster could be as well one psychedelic luminescent dildo in Claes Oldenburg sculpturesize. The background reminds of a black-and-white shot of a rarely covered landscape. Finding the same in a movie plot seems unlikely. Otherwise it wouldn't be a surprise to put out such scenes out of a mass of badly promoted pictures. Peltzer cultivates inaccuracies in transformation to his motives presentations and points out fuzziness. Batman, for example, who is rather vaguely realizeable by his adolescent companion Robin, carries magenta and pink. The fact that his outfit consists of cape, mask and nylon suit, mediates less the picturesque accomplishment of the figure, as that he does not run counter to this at last pure surmise. The town in the background surely could show Gotham City, as it could be each other skyscraper dominated city district. Just because Gotham city is a fictive town in the comics and movies, whose shape shows ecool structured power amplitudes, exemplarily and western world style.
If we assume that pictures are not the updating but the beginning of independent realities, then it is roughly careless to identify this joker dressed in pink as Batman in a wrong costume. With some carelessness you can stand, but "there is definitely nothing that looks emtier than an empty swimming-pool". At least this has been stated by the central figure Phiilip Marlowe in Raymond Chandlers best and last criminal novel "The Long Goodbye", dated 1954, before his nearly 18 years older woman passes away.
In Peltzers pictures there are figures and objects, that recur over and over again. But they only surve as placeholder for the real protagonists of his painting, the spontaneity of his decisions, to the splashes, courses, runners and puddles of the poured paint. The purpose of a swimming-pool is to get filled. At the right point of view, the daylight is reflected in the surface of the water and spoils the sobriety of his usefulness. In particular if something touches on to it and rings disturb the reflexion of the day. Or if it becomes dramatic and a heavy object breaks through the surface, it splashes and melts the shape of a car with what just passed and the reflexion scatters away through without to pass completely. Maybe this is the way the paintings of Michael Peltzer work. the pictures of Michael Peltzer. Concreteness falls into liquid paint material and briefly before drowning he saves its shape.
Today swimming-pools are seldomly built only seldom with concrete, neither they are tiled and whitewashed blue.They are delivered as one piece tubs and with their smooth curves they remind to skateboard parcours rather than they are good as a methaphor for the isolation of a non-commitable investigator. To call the archetypical emtiness of a persuasive dressed-ip figure, a hat bearer, who because of his presence on a picture, can not stay away from refering a little bit on Magritte, nevertheless he would like to be a cowboy, an afroamerican Jazz-Star, a superhero, a princess dandy, a car or canoeist, Peltzer does not need the vehicle of a metaphor even if he would like the inexorably spreading out blood in Thomas Pynchons full and soon homogeneous red coloured swimming-pool. His figures become by a sovereign picturesque action contemporary stencils of doubtfully gazed attempts to show authenticity. Michael Peltzer has understood what painting was always able to do best: convincingly try to state as if it concerns more than purely itself. By painting he transforms the pictures and copies of our reality to a formula without solutions and this is great.