Bateman Crawfort

THIS EXHIBITION PRESENTS WORKS THAT PAY TRIBUTE TO THE FASCINATING DYNAMIC THAT EMERGES WHEN TWO WORLDS ARE SEPARATED. ON ONE SIDE, A COLOR FIELD STANDS RADIANT YET ENIGMATIC; ON THE OTHER, ANOTHER SURFACE RESPONDS WITH EQUAL INTENSITY. BUT IT IS THE STRIPE — THE MOVEMENT IN BETWEEN — THAT BREAKS OPEN AND REVEALS THE ESSENCE.

THE COLOR AREAS VISIBLE ON BOTH SIDES OF THE STRIPE ARE NOT STATIC ELEMENTS BUT TRANSITIONS: GRADIENTS SHIFTING FROM LIGHT TO DARK, SOMETIMES ALMOST CHAOTIC, BLENDING UNEXPECTED HUES. THEY MERGE SOFTLY, CREATING AN ILLUSION OF MOTION AND VIBRATION. THESE GRADIENTS AMPLIFY THE TENSION BETWEEN THE FIELDS — A TENSION THAT ANIMATES THE WORK, BALANCING CONTRAST AND HARMONY, AND INVITING THE VIEWER TO EXPLORE THE SUBTLE NUANCES HIDDEN WITHIN EACH PAINTING.

FH FISCHER PAINTS FROM MOTION — POWERFUL, INTUITIVE, YET GUIDED BY AN INNER ARCHITECTURE. HIS PRACTICE STANDS IN THE LINEAGE OF ABSTRACT EXPRESSIONISM, YET REFUSES ITS BOUNDARIES: AT TIMES ERUPTIVE, AT OTHERS SERENE AND EXPANSIVE. HE SEEKS THE POINT OF FRICTION BETWEEN CONTROL AND IMPULSE, BETWEEN GESTURE AND FIELD. HIS PAINTINGS ARE RAW, PRECISE, IMMEDIATE — AND THEY HOLD THE FORCE OF A MOMENT THAT ENDURES.

TWO ARTISTS, TWO DISTINCT VOICES – CONNECTED BY A SHARED ATTITUDE: COLOUR IS NOT DECORATION, BUT SUBSTANCE. FORM IS NOT A STYLISTIC DEVICE, BUT TRACE. BOTH PAINT FROM WITHIN – NEVER STAGED, NEVER CALCULATED.

DAVID PHER CREATES DREAMLIKE PARALLEL WORLDS – FULL OF SUGGESTION, CHARGED WITH TENSION BETWEEN FIGURATION AND ABSTRACTION. HIS COLOURS BEHAVE LIKE FREQUENCIES: VIBRANT, FLICKERING, SOMETIMES UNSETTLING. BENEATH THE SURFACE, A POLITICAL UNDERCURRENT RESONATES – NEVER EXPLICIT, BUT LIKE AN ECHO IN THE ROOM.

FH FISCHER WORKS FROM MOTION – POWERFUL, INTUITIVE, YET ALWAYS WITH A SENSE OF INNER STRUCTURE. HIS PAINTING STANDS IN THE TRADITION OF ABSTRACT EXPRESSIONISM, WITHOUT BEING TIED TO IT: AT TIMES ERUPTIVE, AT OTHERS CALM AND EXPANSIVE. HE SEEKS THE TENSION BETWEEN CONTROL AND IMPULSE, BETWEEN GESTURE AND FIELD. HIS WORKS ARE IMMEDIATE, RAW AND PRECISE – AND THEY CARRY THE FORCE OF A MOMENT THAT LINGERS.

BETWEEN WORLDS DESCRIBES EXACTLY THAT: THE SPACE IN BETWEEN. BETWEEN TWO ARTISTIC WORLDS, BUT ALSO BETWEEN ORDER AND DISSOLUTION, SURFACE AND DEPTH, EMOTION AND FORM. NOT EITHER-OR, BUT IN BETWEEN.

UNDER THE TITLE BACK TO THE FUTURE, FH FISCHER PRESENTED HIS LATEST WORKS IN THIS EXHIBITION – A LEAP BACK TO HIS EARLIER DAYS IN PAINTING, ACCOMPANIED BY A TOUCH OF NOSTALGIA AND A HINT OF ANTICIPATION FOR WHAT WAS YET TO COME.

THE EXHIBITED WORKS EXPLORED THE INTERPLAY OF SEPARATION AND CONNECTION, TENSION AND HARMONY, MOVEMENT AND STILLNESS. THESE THEMES RAN THROUGH ALL THE WORKS, MANIFESTING IN VARIOUS WAYS. COLOUR FIELDS ENGAGED IN DIALOGUE WITH ONE ANOTHER, SEPARATED YET CONNECTED BY THE SPACE THAT SURROUNDED THEM. GENTLE GRADIENTS AND STRONG CONTRASTS CREATED DYNAMISM, WHILE LAYERING AND TEXTURES HIGHLIGHTED THE PHYSICAL PRESENCE OF THE COLOURS. EVERYTHING FLOWED INTO ONE ANOTHER, YET THE TENSION BETWEEN THE ELEMENTS REMAINED PALPABLE. THE WORKS INVITED THE VIEWER TO DELVE DEEPER, TO EXPLORE THE SUBTLE TRANSITIONS AND THE DELICATE PLAY OF OPPOSITES THAT COULD BE FOUND IN EVERY PIECE. THUS, THE SEEMINGLY SEPARATED THEMES MERGED INTO A COMPLETE PICTURE, CHARACTERISED BY MOVEMENT AND ENERGY.

RUSSELL JAMES REDWOOD HARRIS PRESENTED A SOLO EXHIBITION IN WHICH THE SUBTLE BODY AND ITS CONNECTION TO THE NATURAL WORLD AND MENTAL HEALTH WERE EXPLORED THROUGH CRAFT TECHNIQUES AND EMBODIED DAILY PRACTICES. THIS NEW BODY OF WORK INCLUDED LARGE-SCALE WOVEN MOBILES, HAND EMBROIDERIES, SCULPTURAL OBJECTS, AND DRAWINGS GENERATED THROUGH VARIOUS MEDITATIVE PROCESSES.

THE EXHIBITION ALSO HOSTED THREE CRUISENKRÆFT AFTERNOONS, DURING WHICH THE GENERAL PUBLIC WAS INVITED TO SPEND A FEW HOURS SKETCHING, CRAFTING, AND CONVERSING WITHIN THE GALLERY SPACE. VISITORS WERE ENCOURAGED TO BRING THEIR OWN PROJECTS OR JOIN TOGETHER TO DEVELOP A COMMUNAL WORK – NO PRIOR EXPERIENCE NECESSARY!

Fleeting forms captured, fixed and captured, frozen, fluid light moods, atmospheres pictorially captured captured: in Claudia Klein’s work, the perception of the most ephemeral the most ephemeral elements of nature play a major role in Claudia Klein’s work. Her photographic works, like her painted works, explore themes such as the present moment and infinity as well as the relationship between the two. The perpetual movement movement of the sea, the continuous change of the sky, the of plants: these processes find their analogy in painting in painting: the conscious (inter)flow of color on ground, working outdoors. Claudia Klein integrates the influence influence of nature in her works, allowing metamorphoses to occur: Nature destroys and adds, accelerates or slows down ageing processes.

Klein’s photographic and artistic practice draws on both ancient and modern mythologies of the sublime and explores questions of natural aesthetics and the positioning of the perceiver in the natural space. The search for alternative ways of life, for reassurance of nature and for the energy of the invisible culminates in an abstract and ephemeral visual language.