Daniel Behrendt
Facades. Walls. Windows. Shadows. Visiting Daniels Behrendt鈥檚 show is like walking through the city. But it is not the crowds of people we encounter, nor the sights. We immerse ourselves in its soft hues. The artist is interested in the ordinary functional architecture and the abandoned, often overlooked corners and edges. These 鈥簄on-places鈥� evoke a profound beauty, even though they are mere surface.
Form and content inter-determine each other, since the illusion of a fa莽ade is connected to its alleged reality, created with multi-layered oil paint that gives the appearance of the surface of a plastered wall. A minimalist approach characterizes Daniel Behrendt鈥檚 work, focused on a devotion to detail. The figurative is at the same time abstract, even ornamental, a play of shapes and colors, most of all of fine color nuances.
The artist presents the outside only and despite the painted windows, we cannot look into the safe, familiar inside. Like a protective wall the images seem to deflect our gaze, but at the same time their poetry infuses us. A soft melancholy is transmitted from work to viewer, throwing the viewers back upon themselves.
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Facades. Walls. Windows. Shadows. Visiting Daniels Behrendt鈥檚 show is like walking through the city. But it is not the crowds of people we encounter, nor the sights. We immerse ourselves in its soft hues. The artist is interested in the ordinary functional architecture and the abandoned, often overlooked corners and edges. These 鈥簄on-places鈥� evoke a profound beauty, even though they are mere surface.
Form and content inter-determine each other, since the illusion of a fa莽ade is connected to its alleged reality, created with multi-layered oil paint that gives the appearance of the surface of a plastered wall. A minimalist approach characterizes Daniel Behrendt鈥檚 work, focused on a devotion to detail. The figurative is at the same time abstract, even ornamental, a play of shapes and colors, most of all of fine color nuances.
The artist presents the outside only and despite the painted windows, we cannot look into the safe, familiar inside. Like a protective wall the images seem to deflect our gaze, but at the same time their poetry infuses us. A soft melancholy is transmitted from work to viewer, throwing the viewers back upon themselves.
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