on paperon paper
Previous Next

Marion Fink & Ekkehard Tischendorf

"on paper"


Vernissage on June 14, 6–9 pm
Duration of exhibition: June 15 – August 31, 2019

The exhibition on paper is dedicated to the medium of paper, especially paper as a medium for images. The artistic juxtaposition of Ekkehard Tischendorf and Marion Fink shows how diverse and different the painting and painting of paper can be. The material has a long, significant history and yet fights for its reputation alongside classical media such as canvas. The special aesthetic qualities and the enormous versatility of paper are brought into the light by the two techniques of the artists and put the paper on its deserved pedestal.

In Marion Fink's large-format works on paper one encounters abstract scenarios with figures and objects as well as words and text fragments. Her pictorial world plays with aspects of the real and the seemingly unreal and presents itself as if in snapshots of a daydream. Philosophical considerations regarding the individual construction of reality and identity flow as much into her pictorial process as do influences from popular culture and social media. The various elements combine like collages to form motifs that then find their way onto paper in an equally puzzling way. Through the use of a glass plate as a pressure body (on which the oil paint is first applied and then pressed onto the paper with physical force), the shimmering structures of the large-format monotypes are created in many small steps.
(Marion Fink)

Ekkehard Tischendorf steps in front of paper and canvas and lets it happen. Researching and questioning, looking at color and form, he opens up a painterly field of possibilities that leaves many things suspended. The artist has a rich stock of pictures at his disposal, so that he then loses himself in painting during the working process, allows himself to be guided by the compositions that emerge through repetition, reshaping, transformation and reinvention, and invents dense and seemingly delicate pictorial worlds in the act of direct, intuitively guided action. The intention often leads into the unknown, chance takes the lead. The result is an open and at the same time condensed surface that draws its tension precisely from the ambiguity of its motifs.
(Günther Oberhollenzer)