FERROIII
| Edition | Original Art |
|---|---|
| Sujet | Landscape |
| Technique | Painting |
| Height | 170 cm |
| Width | 130 cm |
| Length/Depth | 3.5 cm |
Medium:
Oil on canvas
Technique:
Painting with a brush
Shipping:
The artwork is shipped stretched on a stretcher frame – including a certificate of authenticity and signature on the reverse.
FERRO III draws on a colour scheme inspired by chemical and metallic transformation processes. However, natural phenomena and sunsets also come to mind.
The minimalist approach serves as a soothing counterpoint to the overwhelming flood of images and sensory stimuli to which we are exposed daily, and invites contemplative observation.
The aim was to achieve the greatest possible abstraction.
Here is a text that served as the basis for the creation of the image:
De-objectification
Perhaps there is no object in which its de-objectification is not inscribed. Not necessarily as dissolution or final fragmentation, but as a withdrawal from the objectifying gaze. For the object, which in Ancient Greek is called Α ν τ ι κ ε ί με ν (Latin: objectum), marks the counterpart of a (perceiving) subject, which we call the object. It stands opposite, forms an opposition and, in doing so, is constituted not only within the subject-object relation; it also proves to be a construct which, like any construction, can be broken down into its constituent parts. This decomposition is inherent within it. Rather than being an act imposed from without, it is a priori inherent in the object’s concreteness. In fact, seeing does not mean exclusively synthesising or assembling in order to constitute concreteness. Seeing equally means analysing, decomposing, splitting and fragmenting. The whole is invisible. Only the decomposing gaze, whose power of separation is tireless, gains concreteness. To do so, it must be sensitive to the fissures that hold the elements of the object together in their difference from one another. This sensitivity also extends to the contingent nature of the composition of the concrete world. Often, the connections between its elements could be different from what they are. Indeed, the concept of de-objectification points to the principle of contingency. Things are as they are, yet they need not be so. Contingency expresses the instability or arbitrariness of the world. It is an ontological indicator of the fragility of the world of things, that is to say, also of its transformability. De-objectification also means: the de-realisation of the real in favour of a reality as yet unknown.
Marcus Steinweg
Daniel Wöllenstein
Lives and works in Cologne.
Artistic career
Education
2002–2009 Studied art at the University of Cologne under Rainer Barzen and Silke Leverkühne
Since 2007: Studio at KunstWerk Cologne
Exhibitions (selection)
2007 Blaumachen, KunstWerk Cologne
2008 ‘Bogen 2: Straight from the HART’ –
2008 Long Night of the Museums – ‘Festive Processions and Diodramas’
2008–2009 ‘Darwin – Design and Creation of a KVB Tram’ to mark Darwin Year 2009, in collaboration with students from the University of Cologne
2011 “Fette Nager – Bello and I” – Museum Night – KunstWerk Cologne
2016 nxnw Festival collaboration with Slobodan Kajkut “20 Interventions”
2016 “Raum 500” – exhibition with Olga Jakob and Heike Simmer – nxnw Festival
2017 “HORST” – KunstWerk Köln
2014–2017 Board member at KunstWerk Köln e.V.
2017 Chairperson of KunstWerk Köln e.V.
2019 Long Night of Museums “Wedding” – installation and collaboration with Heike Simmer
2021 TUNING – KunstWerk
2025 afternoonprojekts with Tom Gully, Oskar Lovis and Gilbert Flöck – KunstWerk Cologne
2026 Fragmented Realities – vonfraunberg Art Gallery, Düsseldorf
2026 Artist of the Month at SKM
Upcoming
June SKM Pop-up Exhibition, Munich
August: SKM Community Exhibition, Leipzig
Artist Statement
What’s it about? The works are taken from the ‘TUNING’ series – spanning the period from 2018 to the present day, although the pure colour segments have only come to dominate the ‘TUNING’ series since 2021. The focus is on a gradual abstraction and reduction of the pictorial content, whilst references to natural and man-made phenomena can be found in the colour and form compositions.
Within the seemingly equal segments, compositions of colour and form can create foregrounds and backgrounds that shift fluidly depending on the viewer’s focus. The play of light, which can be intensified by contrasting colour gradients to the point of ‘glow’, contributes to the sometimes sculptural impact of the works.
Digital colour selection scales, flip-flop paint finishes from tuned sports cars, sunsets, heavy industry, space and reflections in coffee can all find their way into the colour compositions.
