12. ANY TIME AT ALL

Studio-exhibition of the Liverpool artist Anna Ketskemety in the studio of the Cologne artist Georg Gartz
The trend towards large-scale art works in contemporary art is undiminished. Nevertheless, or perhaps because there are among these effective visual art throws that set specifically to the contrary.

As the small paintings of Anna Ketskemety that are so tiny that it can be seen at first sight to almost nothing. One must be willing to look closely. As the attentive look on the painful skin area is beneath the only one millimeter large splinter. Or like when scanning a landscape cut in binoculars focused with eyes. The World focuses on a thumbnail, that's a fantastic trick.

The medieval painting knew him, described in many handwritten and hand-painted devotional books. The Indian painting also know him for a long time. And the oriental painting knows him. The idea to show the world at large in the tiny format has not only an intellectual conceptual magic.

The reduction of the reality rather contributes to the increasing size of our imagination. In the imagination of a grain of sand is a mountain.

Otherwise inspired the depictions of heaven and earth, the miracle of the human imagination in Christian devotional books. And otherwise the small-scale groups of motives led to the paintings of the old Flemish masters, and in some surrealist compositions (approximately by Salvador Dalí) the viewer into so much secrecy and misleading, that they found themselves suddenly in itself.

Exactly this psychological trick white people living in Liverpool painter Ketskemety.
The lower the sun, which represents Ketskemety picturesque, the greater its rays in the imagination. The smaller the house painted with fine brush strokes, the deeper reaches the imagination into his room.
Otherwise inspired the depictions of heaven and earth, the miracle of the human imagination in Christian devotional books, and otherwise the small-scale groups of motives led to the paintings of the old Flemish masters, and in some surrealist compositions (approximately by Salvador Dalí) the viewer into so much secrecy and misleading, that they found themselves suddenly in itself.

Ketskemety believes in the artistic continuity in the figurative tradition of the old masters. Her paintings are controlled in every detail. Chance has no place in their quaint concept. Ketskemety believes in meticulous craftsmanship in dealing with brush and paint. And they believe in the principle of aesthetic restraint, which is the opposite of the prevailing since the classic modern aesthetic dictum of conspicuousness.
Ketskemety that is a contemporary artist, but she shows with the crafty trick to paint their miniatures on folding boards. You could see in it an unnecessary gimmick. In fact, the artist knows that this particular trick lifts the flat image in the status of the object sticking.

Just as there are thumbnails in old devotional books, and just as the highly detailed illustrations of the on-and zuklappbaren medieval altars.   To understand the painting as an object and not just as a surface is
an important content positioning in times of progressive artistic surface philosophies

In the studio of the Cologne artist Georg Gartz, where Ketskemety shows their image objects, usually there is the dynamic force of abstract-expressive painted colors. The richly colored painting by Georg Gartz embodies the other side of art and life, the Ketskemety expresses. Abstract painting-moving swings, wander into the open, stand for a modern desire for freedom, which sees more in the tradition of a hindrance than a sedative.


The desire on the big screen to have plenty of space for the search of the unknown picturesque way, stands for the hope of being able to invent the personal law of the colors again and again. Gartz can surprise you with every new image where the colors run him. He challenges the chance.

The harmony of the world is being built in a picturesque area of conflict and turmoil opposites. Thus represent Ketskemety Gartz and the two different ends of the painting. The only he who thinks in artistic drawers is of the opinion that it is not the point where they touch each other

Atelier Georg Gartz, Erzberger No. 9, 50733 Cologne, Tel: 0221-7603909
22nd and 23 September 2012, from 15 to 18 clock

Photography © Tony knox

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