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← Katharina Grosse: Painting with Color | ART21 "Exclusive"

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Showing Revision 1 created 08/19/2015 by Amara Bot.

  1. [Katharina Grosse: Painting with Color]
  2. [Katharina Grosse Studio, Berlin, Germany]
  3. I got to write this poem down here on my wrist--
  4. on my arm.
  5. Stilton cheese.
  6. I'm going to make a Christmas card for my
    friends.
  7. One side of the card is going to be a photograph
    of a poem that I really like.
  8. I've written it down on paper,
  9. and I think maybe it's better on my skin.
  10. When I started painting, I stopped reading.
  11. In school, I loved to learn languages and
    read things,
  12. and I really stopped that at the moment that
    I started painting.
  13. And I didn't know why.
  14. It took me a little while to understand why
    I did it.
  15. It's a poem by an Austrian poet,
  16. and his name is Ernst Jandl,
  17. and he's made a lot of really fantastic poems
    that are just sound, and...
  18. yeah, they're super fascinating.
  19. The linguistic structure urges you towards
    a certain order system
  20. where things follow one another, which is
    very linear.
  21. And I realize that painting does not have
    a linear structure;
  22. but the synchronicity in painting is super
    compelling for your thought process.
  23. [sound of the camera phone's shutter clicking]
  24. Okay, we have to do it again.
  25. It's very rare that you read something profound
    and fundamental on color.
  26. Modern critics write about the concept
    on what you can see
  27. or what is being dealt with politically or
    socially;
  28. but, painting being discussed in the realm
    of color is never happening.
  29. Interestingly enough, color is an element
    in painting that has always been discussed
  30. from the 17th Century on--in the big academy
    in Paris or wherever--
  31. as the female, less stable, less clear, and
    not so intelligent element of painting,
  32. whereas the concept--the line, the drawing--
  33. is more the male, the clear, the progressive,
    and intelligent part of the artwork.
  34. I think that I am dealing with this heritage
    in an interesting way,
  35. because color is such a very very important
    spatial feature in my work,
  36. in relationship to the crystallized and built
    and materialized world
  37. that is part of what I do when I paint in
    space.
  38. I like this anarchic potential of color.
  39. I see it very clearly that color is actually
    taking away the boundary of the object.
  40. So there is no subject-object relationship
    anymore.
  41. And I think that's maybe what color has the
    potential to make us think.
  42. [Johann König Gallery, Berlin, Germany]
  43. It's the first time I'm showing works on paper
    in a show.
  44. When I came back from my annual surfing holiday,
    [LAUGHS]
  45. I started with works on paper and I kept going.
  46. And I found it very interesting
  47. and I could develop a lot of things very fast.
  48. All the different actions go together on one
    surface,
  49. so it's a little bit like violence in a movie,
  50. which kind of accelerates time and compresses time.
  51. So, shortening the process of thinking and
    acting.
  52. Also, it's without resistance to work on these
    small formats
  53. as opposed to the large pieces where the material
    resistance is very strong
  54. and makes the painting less fluid and mobile.
  55. What I'm doing with my work is to kind of
    grasp some of those
  56. fast thoughts that run through my brain,
  57. and maybe painting is one of the ways to actually
  58. make those visible and understandable for myself.