9788799082018 (1 resultados)
- Tapa blanda
Librería: Borkert, Schwarz und Zerfaß GbR, Berlin, AlemaniaBorkert, Schwarz und Zerfaß GbR
Contactar con el vendedorVendedor de 5 estrellasCondición: Usado - Excelente
EUR 29,00
Envío por EUR 40,00Se envía de Alemania a Estados Unidos de AmericaCantidad disponible: 5 disponibles
kart. Condición: Sehr gut. 76 Seiten, zahlr. farb. Abb. Sehr gutes Exemplar. - Text: Deutsch, Dänisch und Englisch. / Text in danish, german and englisch. / Adam Saks's work is a journey through a world of remarkable colouristic landscapes that are devoid of human figures but contain and combine samples of recognisable motifs to… form a new and different pictorial reality. By means of a fruitful dialogue between various media, motifs and techniques, Adam Saks presents the viewer with places that cannot immediately be localised: a sort of "non-places" that neither can nor will exist on the premises of reality, but which never raise doubts as to whether such a reality is possible. Everywhere in Adam Saks's work there are traces left by human presence. By allowing these signs to be omnipresent in an illusionistic no-man's land, the artist creates a pictorial space in which civilisation meets nature, but where the setting for the meeting is still not clearly defined. This open and undefined area gives the artistic fantasy a latitude in which new meanings can be created on the basis of structures, spaces and figurative elements. Adam Saks's range of motifs underlines the impression of his work as both a physical and a mental journey. His motifs are taken from near and far; tattoo, architectural struc- tures, intense experiences of colour, exotic nature panoramas and furnishing from every- day interiors. Mental maps are unfolded, and visual impressions and memoirs are combined with elements based on pure artistic imagina- tion, giving rise to a kaleidoscopic field of tension. In the more recent paintings, the combination of different motif fragments is more obvious, promoting the experience of a range of artistic samples of impressions com- bining all the fragments to form a constructed, illusionistic composition of images. It is the tattoos that dominate in the drawings, and these emerge as graphic inscriptions and ornamental human traces and are combined with fragments of landscapes and stories from exotic lands. Overall, Adam Saks's work is at a point of intersection marking the changing aesthetic presentations of what has been artificially created and what has emerged by natural process. From a compositional point of view, Adam Saks's paintings and drawings appear to be based on a collage technique. However, it is only possible to talk of an impression of collage, as it is produced via the methods peculiar to painting and drawing themselves. This impression is manifested partly by the fact that the pictorial elements often overlap each other, while each is separately defined by an irregular white border making them stand as though torn at random from pieces of paper. With the help of the monotype a graphic method in which oil paint is applied to a glass plate and then printed on to the canvas the painter creates an effect of coloured transparency in his paintings, which further contributes to underlining the collage technique. In the pictorial surface there thus arise both spatial depth and a shadow play of several layers that make the compositions emerge as scenographic mises-en-scène. In the manner of building bricks, the decontec- tualised architectonic and ornamental details are placed one by one on the stage and further developed into a narrative landscape. Adam Saks occupies an independent and experimental position in what is known as subjective magical realism, which in recent years has been proclaimed as the latest trend in contemporary painting. Painting is experiencing a renaissance just at the moment, and a new interest in paintings seems to be emerging after the passionate and emotional delight in painting in the 1980s long ago ebbed out. Painting today exhibits a vast range and a desire to experiment, as it both presents itself as a room installation or as a total installation and at the same time exceeds the traditional mimetic function of painting through a deconstruction and re- construction of boundless reality. As part of this expanded fi.
