afterglow

Afterglow

Medium:

Oil on canvas and wood

Technique:

Painting with a brush

Shipping:

The work is shipped stretched onto a wooden stretcher frame with a plywood panel glued to it – including a certificate of authenticity and the artist’s signature on the reverse.

This means the canvas is stretched over the plywood panel underneath. Consequently, the work is heavier and more stable than standard stretcher frames.

‘Afterglow’ draws on a colour scheme inspired by chemical and metallic transformation processes, though natural phenomena and atmospheric layers are also conceivable. 

‘Afterglow’ – the lingering glow – can be interpreted as positive, negative, overwhelming or melancholic. ALL OF THE ABOVE! 

 The work thrives simultaneously on precision, presence and restraint. There is plenty of scope for contemplation. A chance to lose oneself in the large format. Putting your mobile phone aside gives your gaze the chance to experience an aesthetic primal experience. 

My current aim in my work is to achieve the greatest possible abstraction.

Here is a text that forms the basis for my current series.

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 solely 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

Sent by post – including a certificate of authenticity and a signature on the reverse.