Tender orange grows up next to the horizontal pink, on the left and right it is framed by cloudy pink, which seems to dissolve. Filling green strips simulate movement – you think of the traces that a print head leaves when it moves back and forth. On top of that, light blue strikes even further to the sides to endure fiery in the upper third, in a jagged violet and strong blue.
Pictures full of irritation
“Second” is the name of over two and a half meter high image of Jonas Weichsel, which also gives the title of his exhibition in the Thomas Schulte gallery. The second as a time as well as a compositional interval, which always accompanies us and that we never get to grasp. The painting “Contact” is divided into a white dominated, almost translucent zone and a dense game in complementary red and green. In both areas we encounter blurry structures again.
A light blue surface wants to associate our eye with a lake – but if it were intended, the sunlight underground would seem. Another irritation that the painter, born in Darmstadt in 1982, likes to give the viewer on the way. But the blurring of the amorphous elements contrasts a brilliant, although subtle clarity and space in which we encounter what the French philosopher Gaston Bachelard described in his legendary theory about the “poetics of the room” in the late 1950s as “pictures of happy space”. In the area of tension between closeness and distance, “Contact” drives the room illusion to an impressive tip.
The eye is without a stop
Two millimeters of narrow, straight verticals mark a portrait section, just as if it were a picture in the picture. The yellow and red vertical are connected from the upper left corner to the lower right by a diagonal, which consists of three even narrower black lines. These run through the composition like breathfeine threads, and the artist gives it such a plasticity that it looks like a thread installation of Fred Sandback.
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After studying at the Academy for Fine Arts Mainz, which was still all about the objectivity for Vistula, he went to the Düsseldorf Art Academy in 2010 to Tomma Abts and in parallel to the Städelschule in Frankfurt, where he ended his studies in 2012 as a master student of Judith Hopf.
In the meantime, he has found a radical objectlessness that consistently undermined the human tendency to discover a horizon in every horizontal. The eye is not a stop. However, you can let yourself fall into these visual worlds, explore your various areas as when climbing free without rope or belt and penetrate into your depths.
Self -made painting machine
The only concrete is the image space. In it, the colors, pushing back or back, are meticulously forming lines and sharp edges, walking towards each other, fighting against each other or combining each other. Jonas Vistula prints the color mechanically, mechanically applies it with a self -made painting machine and leads the brush, the quast or the pallet knife in a classic manner. The artist living near Frankfurt leaves subtle traces that always refer to his individual style. But the distinction where the craft begins and the mechanical digital printing stops can no longer be seen.
Dubious spaces
“The space is a doubt,” writes the French writer and filmmaker Georges Perec in his book “Dreams of Rooms”, which contains the most programmatic and most powerful text of the great experimenter: “I have to stain it incessantly, describe it; he never belongs to me, he is never given to me, I have to conquer it.” Jonas Vistula probes him with complex and time -consuming manufacturing processes, from which picturesque collages arise from impressive effectiveness.
According to the various machining levels, the images are printed on canvas and then painted manually with acrylic paints. Your starting point is always analogous: watercolored dyes that are scanned, checked and researched. Sometimes the painter pulls them over the scanner by hand and creates movements and blurring that are distorted on the edges and are reminiscent of disorder or image noise.
Unlike Gerhard Richter
In part, there are similarities to Gerhard Richter’s abstractions. But that, says gallery owner Thomas Schulte: “Did you happen to be created in Jonas’ own image -finding process.” In his latest work in systematized color and spatial references, which summarizes his artistic spectrum of the past fifteen years, Vistel puts what suggests the blurring and torture of the Grand Master judge. The prices of his pictures move from 7500 to 50,000 euros.