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12 februari tot 12 maart Joachim Grommek (1957, Wolfsburg, Germany) explores in an ambiguous but playful way the relationship between the materiality of the painting and its content. His work is quite accessible at first hand, yet when studied more thoroughly, the details give away extra information which results in a reversal of perception. Grommek uses fibre board, mostly plastified (white), as his canvas. In his tape works this then seems to be partially taped over by coloured or transparant tape. Where the plastified foundation appears to have been sanded off, according to our eyes we then see the fibre board showing through. But we have been tricked as we are dealing with a tromp-l'oeil effect: this fibre board is in fact painted. The tape also isn't tape but acrylic paint or lacquer. The precise rendition adds to its persuasiveness. This is painting pur sang, in which Grommek questions and comments on recent art history. As is clearly the case in the paintings which directly refer to the work of well known colleagues such as Ryman, Rauschenberg, Warhol, Judd and LeWitt. A good example is a series of silk-screened (self-)portraits by Warhol which Grommek uses as a starting point, whereby he isn't so much interested in the portraits themselves as he is in the - by Warhol often randomly placed - prints on the picture. The area of the portrait itself is replaced by the fake fibre board, painted in oil. The coloured part next to it, shows Warhols underlying colour basis, that remained visible in the silk-screen print just outside the printed area. The colour quality from these Warhol quotations are based upon the catalogue reproductions of Warhol's work, which is being referred to in the titles. Mostly the original measurements are taken over as well. Grommek's first solo exhibition at VOUS ETES ICI shows paintings from the period 2000-2004. |
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