ARTISTS
Volker Stelzmann: Thicket
Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll 鈥淭hicket鈥�. The gallery has represented the painter for over thirty years.
Stelzmann鈥檚 work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Limbs whirl around, people stand closely packed side by side or one behind the other, without any apparent interaction. They wear fashionable clothing such as hoodies or neon-coloured trainers with thick soles, notable hairstyles, or headgear. The faces, with wide-open eyes, are expressive and yet seem frozen into masks.
鈥淪telzmann observes his contemporaries on the street as intensely as he does the beloved Renaissance painters and Mannerists, whose works he discovered even in the most remote villages during his numerous trips to Italy. To him, history is not something distant, but omnipresent. Conversely, those modern people he depicts become part of a cross-era study of humanity 鈥� as well as a timeless reflection on what painting can achieve in the interplay of tradition and innovation鈥� (Sebastian Preuss, 2020).
Stelzmann ironically comments on the daily news with paintings like 鈥淭he Tortoise鈥�, named after a marching formation of Roman legionnaires, or 鈥淏arrier鈥�. People almost completely disappear behind banners with slogans like LGBTQ, DIVERS, KLIMAFASCH, or WHITE MEN, which one can complete themselves. Two 鈥淜nife Men鈥� threaten a person in the painting of the same name, while others watch helplessly or flee.
Each of Stelzmann鈥檚 images is based on a precise observation of his environment, without any didactic intention with his paintings. The artist repeatedly paints himself as an observer (鈥淪elf-portrait with Grey-Green Cap鈥�) or blends in with his wife Henriette among the group of people (鈥淔rieze of Heads I鈥�).
Volker Stelzmann has named his twelfth solo exhibition at Galerie Poll 鈥淭hicket鈥�. The gallery has represented the painter for over thirty years.
Stelzmann鈥檚 work is characterised by great continuity. Over the years, he has created his own universe of images through his distinctive language of forms. He continually invents new, sophisticated arrangements and compositions for his groups of figures. Limbs whirl around, people stand closely packed side by side or one behind the other, without any apparent interaction. They wear fashionable clothing such as hoodies or neon-coloured trainers with thick soles, notable hairstyles, or headgear. The faces, with wide-open eyes, are expressive and yet seem frozen into masks.
鈥淪telzmann observes his contemporaries on the street as intensely as he does the beloved Renaissance painters and Mannerists, whose works he discovered even in the most remote villages during his numerous trips to Italy. To him, history is not something distant, but omnipresent. Conversely, those modern people he depicts become part of a cross-era study of humanity 鈥� as well as a timeless reflection on what painting can achieve in the interplay of tradition and innovation鈥� (Sebastian Preuss, 2020).
Stelzmann ironically comments on the daily news with paintings like 鈥淭he Tortoise鈥�, named after a marching formation of Roman legionnaires, or 鈥淏arrier鈥�. People almost completely disappear behind banners with slogans like LGBTQ, DIVERS, KLIMAFASCH, or WHITE MEN, which one can complete themselves. Two 鈥淜nife Men鈥� threaten a person in the painting of the same name, while others watch helplessly or flee.
Each of Stelzmann鈥檚 images is based on a precise observation of his environment, without any didactic intention with his paintings. The artist repeatedly paints himself as an observer (鈥淪elf-portrait with Grey-Green Cap鈥�) or blends in with his wife Henriette among the group of people (鈥淔rieze of Heads I鈥�).
Artists on show
Contact details
What's on nearby
