Schweigende Sedimente II
| Edition | Original Art |
|---|---|
| Sujet | Other |
| Technique | Painting |
| Height | 40 cm |
| Width | 40 cm |
| Length/Depth | 3 cm |
40 × 40 cm
Acrylic on canvas
This work unfolds its impact through a concentrated condensation. In a light, almost dematerialised colour scheme of white, grey and delicate shades of beige, the square picture surface initially appears understated, almost silent. Only upon lingering observation does the inner movement inscribed within this tranquil appearance reveal itself.
The paint was applied using a fluid technique: heavily diluted layers, reacting with one another, were poured over the horizontally positioned canvas and then left to the forces of gravity. This deliberately permitted process gives rise to vertical streaks, fine veils and subtle concentrations. The act of painting takes place here less as a gestural act than as a guided letting of events unfold – as an interplay of decision and contingency that produces a fragile balance.
The surface bears traces of drying, sedimentation and gradual seepage. Delicate transitions, barely perceptible breaks and slight irregularities permeate the picture like faint echoes of a past movement. Nothing imposes itself; the depth of the picture arises not through illusion but atmospherically – as a space that can be sensed rather than clearly grasped.
In terms of content, the work navigates the tension between presence and withdrawal. The reduction in artistic means, the absence of clearly contoured forms and the subdued contrast point to states of transition: between appearance and fading, between materiality and dissolution. The vertical traces can be read as sediments of time – as visible deposits of a process that records an experience rather than depicting a motif.
The smaller square intensifies this effect. It focuses perception and condenses the pictorial space into a concentrated zone of attention. The viewer stands not before an expansive field, but before a compact presence that demands proximity and calls for a slower, more contemplative gaze. Meaning does not emerge abruptly here; it forms gradually, as it were, through a process of sedimentation, in the very act of viewing.
Thus, the image becomes a place of contemplation on a small scale. It resists unambiguous interpretations and instead asserts a poetic openness in which material, time and perception meet in a quiet, enduring dialogue.
Konstantin Lischkoff-Knecht
Mr Knecht studied Fine Art at the Academy of Fine Arts in Munich from 2012 to 2020, under Günther Förg and Jorinde Voigt.
Knecht also took part in Anne Imhof’s project class and engaged in lively exchanges with various lecturers and students at the Academy.
Artist Statement
My artistic journey is deeply rooted in Abstract Expressionism, a style characterised by spontaneous, emotional and unbridled forms of expression. The works of pioneers such as Mark Rothko and Willem de Kooning, as well as artists like Cy Twombly and Georg Baselitz, have significantly shaped my understanding and appreciation of the raw, immediate power of colour and form.
In my paintings, I strive to explore the boundaries of visual language and to convey the emotions and thoughts that move me onto the canvas. Abstract Expressionism offers me the freedom to express myself beyond traditional forms and conventions. This style allows me to experiment with colours, textures and compositions to create a deep and often intuitive resonance.
For me, every canvas is a slaughtering block upon which I come to terms with inner conflicts, feelings and thoughts. The movement of the brush, the flow of paint and the bold gestures reflect the intensity and spontaneity that lie at the heart of my work. The factor of time plays a very intimate role in the creative process: For me, the flow of paint and the resulting emergence of the image represent the passing of the states of my inner life as they are immediately experienced. This process is ultimately concealed from the viewer – the viewer is presented only with the outcome of my process. Through this unfiltered form of artistic expression, I strive to draw viewers into a world of emotion that is as subjective and multi-layered as human experience itself.
Abstract Expressionism has provided me not only with a stylistic framework, but also with a philosophical foundation. It reminds me that art should not merely be viewed, but experienced – it should create a direct and often personal connection between the work and the viewer.
Exhibitions (selection):
2015 Polish Institute Platan / Latarka Gallery (Budapest)
2015 Salon Kennedy (Frankfurt)
2015 Kunstverein Wiesbaden (Wiesbaden)
2016 Catholic Academy Munich (Munich)
2017 Lothringer 13 (Munich)
2017 Art Homes (Munich)
2018 Kunstarkaden (Munich)
2018 Haus 10 (Fürstenfeldbruck)
2023 Kunstarkaden (Munich)
2024 Kunstpavillon (Munich)
