The probable always waits for the unprobable
"Rhythm of Statistics" by the Cologne artist R.J.Kirsch at the Bellevuesaal Wiesbaden | 2010
The occupation with being on the road, mobility, the use of vehicles to open up the world thus becomes the main motif in Kirsch's work. Accidents play an important role in this context,
they symbolize the limitations and fragility of our existence, the limits but also the technical feasibility.
In the increasing speed with which the general mobilization of all areas of life is driving forward,
an "aesthetics of disappearance" is founded, which increasingly shifts processes into invisibility.
Through the staging of the monuments of technical failure as "secular" graves, standstill makes technical
sequences are visible again, at least for brief moments, Kirsch's paintings capture the fleeting, objects out of control. In the deformation caused by the kinetic energy directed against the vehicles themselves
the forces are visible whose mastery has long since become a risky gamble.
Rhythm of Statistics
Oil on wood, 25 x 35 cm, 2013
While the paintings from the series "Rhythm of Statistics" presented a scenic view of the accident scenarios, the focus now moves ever closer to the object, the newer paintings show the distortions and foldings at close range: Hides and skins of vehicles, vehicles, technical equipment, which in deformation has become an expression of kinetic energy. Already in the series "Collisions" (2008-2009) Kirsch begins to examine individual components of such damaged vehicles for their pictorial usefulness. In further development, this theme is reduced to the aspects relevant to painting. In large-format paintings, the painter abstracts from the concrete occasion.
Beyond the self-explanatory intention of dealing with the relationship between painting and technical pictorial media, the ABSTRACTS offer a further reading of his painterly approach, as they see themselves as analogies to the classic drapery, as commentaries in a historical context. Kirsch uses techniques of old master painting, which he adapts to his current needs. In large swings and arcs he emphasizes the distinctly performative character of his painting style, whose generosity is due to the painterly movements that take it out of the way.
2. September bis 26. September 2010
Max Scholz, Köln | R. J. Kirsch , Köln
Ausstellungseröffnung: Donnerstag, 2. September, 19.00 Uhr
Einführung: Ulrich Meyer-Husmann