Over de expositie
When you look at the pictures of Waldemar Zimbelmann, the eyes are been drawn to fused figures who form a symbiosis of body parts. This overlapping combines single figures into new compositions. What you see is not merely one depicted person, it is a kaleidoscopic perspective of limbs that give the works a very dynamic quality. At first sight stark silhouettes looming up in front of you. A closer examination, however, reveals standing bodies in very lively manners. This contradiction of movement and stagnation is what the artist is looking for in his work because he wants to put new intensity in it. This newly derived perception does not mean that it is for eternal. You can lose it the same time the next moment. This Gestalt Switch brings back in memory our own vulnerability. Because there is nothing out there that can gives us full security.
As we have seen Zimbelmann’s pictures are assembled by a process of layering colour. Later on he carves delicate lines with a scalpel on the surface from which the artist peels his subject by uncovering layers. By scratching and scraping out the surface, just as the sgraffiti method, new forms and lines are born. At the same time he inserts a sense of excitement into the works by crossing the figures. It was not his intention to make it this way. He never plans his compositions in advance, they all derive from the inside as a lone journey of the creative mind, then suddenly the whole becomes part of the situation. There are many possible ways to read the pictures and this ambivalence gives us different stages of emotions we can experience. With their sharp lines and earthly colours they evoke a melancholic atmosphere. It also makes them dense and psychological close. These are other themes we can find frequently in Zimbelmann’s work.
Christina Pasedag was born in Germany in 1980; she studied painting at the Karlsruhe academy of art from 2007 to 2012 and was in Prof. Gustav Kluge’s master class in 2013. For several years, Christina Pasedag has been working primarily with woodcut and linocut prints, which she subsequently uses paint to rework. A sheet usually consists of printings from multiple blocks or parts of them: In this way, the faces, poses, and other passages are repeatedly recombined. Through their reworking with paint and through the rinses that follow the multilayered printing process, Pasedag achieves a boldly colored intensity in her works.
In this way, the printing technique — which is actually an instrument for reproduction — is used to create unique works that cannot be duplicated. It simultaneously leads facial expressions that are related at the level of motifs to appear throughout the images in the form of variations: They gaze out at viewers as something familiar and simultaneously entirely different, and they challenge viewers to recognize them once more and to simultaneously “get to know them” in a different way. There are individual characters that seem to particularly interest Christina Pasedag, who exposes them to ever new situations and ambiences by confronting them with other faces, unfamiliar bodies, and new poses, observing their individual dynamics and then purposefully intervening. Thus, an entirely individual world emerges: a world in which we repeatedly come across the seemingly long familiar in new contexts. At the same time, the thematic background is repeatedly formed by motifs from literature, the theater, and mythology, which Pasedag explored intensively while attaining her first degree.
Thematically, the works of this exhibition revolve around the figure of Medea and her diverse faces throughout the long history of her interpretation and reception: almighty sorceress, passionate psychopath, disappointed lover, guilty mother, betrayed innocent, bloodthirsty barbarian, black-skinned Colchian, ...