Julius Heinemann: Double Exposure
Subtle traces encounter powerful streaks of color on a white surface. Peering through semi-transparent gauze, which organically traverses the gallery space and creates a new spatial structure, alters the perception of what is depicted. Julius Heinemann does not limit himself to the classical painting format but instead understands the entire exhibition space as a place of experiencing, which can be opened up through painting. As such, each work is generated individually in the head 鈥� fragments intertwine with subjective experience in the here and now.
Heinemann鈥檚 painting, which is closely linked to the visual experiences of everyday life, is process-based and occurs intuitively. It revolves around the unconscious and subconscious, the ephemeral and unstable; it is both observation and expression in one. The painting process is fundamentally open and investigative. As in concrete poetry, painting itself becomes the purpose and object of investigation 鈥� painting presents itself. Alongside color, shape and materiality, the spatial dimension proves to be an important parameter in the physical experience of the work. Heinemann sees his tableaus as fragments of wall and 鈥� with their empty white areas 鈥� simultaneously as a reference to the White Cube. They are bearers of images and also serve as structural elements that always define themselves in relation to the current environment and lighting conditions. Through spatial interventions Heinemann transfers painting from an image into the room, blurring boundaries between the imaginary and the real, the abstract and concrete. Lastly, the title 鈥淒ouble Exposure鈥� alludes to the many layers and modalities of perspective that exist in his work.
Subtle traces encounter powerful streaks of color on a white surface. Peering through semi-transparent gauze, which organically traverses the gallery space and creates a new spatial structure, alters the perception of what is depicted. Julius Heinemann does not limit himself to the classical painting format but instead understands the entire exhibition space as a place of experiencing, which can be opened up through painting. As such, each work is generated individually in the head 鈥� fragments intertwine with subjective experience in the here and now.
Heinemann鈥檚 painting, which is closely linked to the visual experiences of everyday life, is process-based and occurs intuitively. It revolves around the unconscious and subconscious, the ephemeral and unstable; it is both observation and expression in one. The painting process is fundamentally open and investigative. As in concrete poetry, painting itself becomes the purpose and object of investigation 鈥� painting presents itself. Alongside color, shape and materiality, the spatial dimension proves to be an important parameter in the physical experience of the work. Heinemann sees his tableaus as fragments of wall and 鈥� with their empty white areas 鈥� simultaneously as a reference to the White Cube. They are bearers of images and also serve as structural elements that always define themselves in relation to the current environment and lighting conditions. Through spatial interventions Heinemann transfers painting from an image into the room, blurring boundaries between the imaginary and the real, the abstract and concrete. Lastly, the title 鈥淒ouble Exposure鈥� alludes to the many layers and modalities of perspective that exist in his work.
Artists on show
