A quest for catching the real

The works of recent years investigate the relation between the real and the image. It is an inquiry into the nature of human perception and the substance of reality. Across a variety of mediums, these works pose the ambiguity of the essential reality of the physical object on the one hand and the inherently artificial nature of their depiction on the other.The work allows the object to manifest in its actual, material and sensory ambiguity.

The Linen series
These works show a seemingly unpainted painting which is in fact, a painting. After concealing the canvas with primer like a conventional painting prepared for a new depiction, the linen threads are painted back on using a tiny brush, warp and weft, string for string. By doing so the painting is given back its origin, creating an anti-image – a paradox. These paintings, like the Stone series, pose an autological question in a sense that they possess in themselves, the very quality they depict.

Domestic Paintings
In the Domestic Paintings the cleaning methods from our domestic household are applied to erase or clean a coating of acrylic paint that was brushed onto the canvas. Using a mop, a sponge, a Brillo pad or a squeegee, these daily, common or even mundane methods inherent in humble household duties, leave a form of mark-making on the canvas: a by-product of an activity rather than a conscious act of image-making. The simple anti-heroic gestures left on the canvas are free from the conventional methodologies of depiction – leaving an image with a specific reality instead of an artistic sensibility.

Removed Gesso
For these works, conscious and lengthy steps were taken to eradicate gesso from the pre-primed canvas, laying bare the linen underneath. The peeling off is of an archaeological nature: it brings back properties of the object that are usually hidden beneath the surface.

In the  Transfer Gesso, the original painting is reconfigured onto a canvas twin. For these works, gesso was peeled off one canvas and the pieces were glued back onto another other.

Kirsten Hutsch 2018