Oliver Dorfer – The palemoon, pulp, and other projects: Fabulously endued light

In the press release to this exhibit, Oliver Dorfer is quoted as saying that a painting includes a fair amount of purely visual information, which should evade being cannibalized through language. But one should talk about it - not as if one were at the butchers’ in a greasy, gristly, chewy way, and not in rhymes. All in all, it is a general rule that secret celebrities can be more harmful than useful, language can be transported on greasy leaves, but doesn’t have to, and that talking about painting in front of good painting is only necessary if one has seen what The palemoon-, pulp and other projects is all about. The exhibition presents paintings put together of up to six large tablets. It deals with painting of acrylic on acrylic – amalgamated, joined and combined plastic material with pigments. Painting is sticky cream made of coloured powder and an adhesive sauce, which – when later spread on surfaces, interrupts the wall as a painted object, so that light experiences some variation as well as the onlooker. He, who uses a transparent surface like Dorfer does, works in the retro-technique of reverse glass painting – the last portion of smeared powder cream is tightly glued and visible on the reverse side. The first layer remains immutable on the front – or must be scratched or eliminated. An inevitable requirement for this kind of a visible form of painting is the adventurous prospect of the visual presence and significance of the respective layer of colour, but also on the commitment of form and line between the individual colour layers. Carefully developed and modest as well as playfully implemented lines supplement the emblematic and corresponding proportions of colour tones, a scale of the sparingly used prime colours white and black, which frame the dreamlike deep, yet obviously scratched, painting. And the glass provides a transparent and at the same time tangible distance. A kind of upside down binocular-effect and the associative haziness of a multiple exposure evolves. The ciphers and figures, faces, landscapes, bodies, motions and nominations of the pictures are left to a special exploration, by which they catch attention through one or the other contrast. This happens on a very personal level and is equally as unnarratable as a sweet French kiss-fairy tale, but just as worthy of being narrated. Because: it reminds of the significance and the mercy that fills the conversation between the world and humans in enlightened moments - quasi meringue between the lines. Successful painting, well dressed and regardless of the lighting, deals exactly with this notion. By Gesche Heumann
Oliver Dorfer – The palemoon, pulp, and other projects
29.09 - 07.11.2009

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