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Arno Beck

"Watchlist I/2018"


Vernissage on October 26, 6 - 9 pm
Duration of the exhibition: October 27 - November 21, 2018

 

Artist Statement Arno Beck

In my prints and paintings, I deal with forms of digital representation and the analogous transfer of these image worlds into the real image space. Basically, I start from a classical painterly attitude, which has evolved in the course of time but more and more to a conceptual view of a post-digital painting. Here I use the laws of a pictorial pictorial language that does not manifest itself in classical pictorial expressions. The aim of this transformation process is to oppose the fleeting nature of digital impressions with an analogous form of presentation that can be physically experienced.

The surface structure and feel play a crucial role in the materialisation of the digital templates. The images move at the interface of virtual computer worlds and manual, artistic expressions. The interaction of handmade and digital, I try to implement and edit in various media. Analogue and digital representation permeate each other and my hand interferes with the point where the machine claims its competence. Through the manual work, the perfection of the machine is undermined and the "error" becomes a conceptually important part of the manufacturing process open. Here I am interested in the tension between planned order and welcome outbursts from a static system that create a living color space.

The time-consuming implementation in the transmission of the image data is another important aspect of my work. The digital imagery I'm dealing with is designed for the fastest possible reception speed, which is a stark contrast to the rather tedious and complicated work process that can be seen in my pictures. It is also important that every image is produced only once despite the potential possibility of printing duplication. The transience of the digital is charged with the aura of the one-of-a-kind.

When it comes to woodblock prints, I am fascinated by the specific aesthetics of these, in conjunction with the digital motifs - especially the contrasts of the organic materiality and feel of the wood in contrast to the cool, digital cyber world of the screen. For the prints I use 32 different colors, which are based on the color palette of the game console Gameboy Color, which was installed in 1998. The resulting mosaic prints confront a grid aesthetic of digital perfection with the awkward shifts and overlays of an analogue realization. In the series of typewriter pictures, I type the motifs on the paper, using different letters and characters, line by line. For this purpose, I have developed a presentation concept that allows me to create different gray values ??by overlaying different combinations of letters. The typewriter is thus converted into a design tool that does not string together more text information in a predetermined reading direction on a two-dimensional plane, but creates an image space with depth spatiality. The tool, which was actually developed to normalize the handwriting or to accelerate the reception process of writing, is now being used as a creative tool in a deliberately slowed down production process.

With regard to the motifs, I use contemplative landscapes that I implement in as naturalistic a way as possible and superimpose them with coarse-pixel elements from older computer games. What interests me most about the graphics of older games is that the individual pixel is still noticeable as an atomic, shaping element and thus creates a certain distance from the viewer, whereas today's forms of representation are increasingly being designed for immersion and the closest possible proximity to the subject of the picture. The different presentation modes exist on the screen in a seamless juxtaposition and form a new unit comparable to an augmented reality.

All in all, I see my artistic work as a performative, artisanal process of translating pictorial objects that come from a sphere of accelerated image reception. Here I try to connect presentation techniques and motives, which do not really belong together. Through this materialization and contextual shift, an atmosphere of antagonism emerges in which volatility and contemplation are reconciled.