15.
DO YOU WANT TO KNOW A SECRET
Exhibition of drawings by Bryan Biggs (Liverpool) and Jürgen
Kisters (Cologne)
Drawing perhaps the most basic artistic expression. Grinding with
your feet in the sand, scratching with fingernails in wood or the
stroking with dirty-colored hands on a surface are enough to create
a track. Incidentally or intentionally, both are a possibility. Draw,
create tracks - which is inextricably linked. Each drawing is a track
in the area, produced by a living body, which is constantly in motion
and is pushing for expression. With violent or gentle gestures, awkward
or skillfully resolved or hesitant, shaky or straight, and everything
in flowing change. There are so many varieties of drawing as there
are human expression. At least if you understand not only the drawing
as mere academic ability for realistic reproduction of nature or geometric
design sketch. Anything can be a drawing, which provides a piece of
paper with a sign featuring a wire frame. Whether as a replica of
a perception or expression of a vague intuitive feeling. Draw is the
Old High German word "zeihhanen" inferred "show"
something, "a miracle". Appears simple drawing that can
arise with a few strokes and colored Huschern the outline of a figure
or a nameless track, sometimes in fact a miracle. How come out of
nowhere. A mystery that has become clear. The expression of something
unspeakable. Or so it comes to living in Liverpool artist Bryan Biggs
and Cologne artist Juergen Kisters again and again when they create
with ink pen, pencil, charcoal, crayon, pen or brush is a drawing
on a previously pristine sheet of paper.
Both understand the drawing as an open process, in which one can react
in different ways to the outer and inner world. Both in inextricable
interdependence, if you stay on a figurative-representational basis.
And both do generally, with some exceptions in the realm abstract
structural Fummel estates. In very different ways, and yet on a similar
basis and draw Biggs Kisters what they touched and moved by what they
remember and what they seek. Each with its own bar. One, Bryan Biggs.
With the knowledge and experience of an artist trained in the study
The other, Juergen Kisters, with the ease and experience of a self-taught,
relying again mainly improvisation. For both the drawing is a pretty
obvious thing. Assuming that drawing has long been part of her life
as well as speaking and writing. On the edge of their days they can
for years drawings are coming from an area of their experience, the
two can not be determined exactly. Again and again it is about the
body or face to. The more or less clear outlines of people and objects
in states of motion and rest And again it comes to restless twitching
and longing for appeasement. The Liverpool Biggs treated drawing especially
the area that penetrate into the the individual and the society, the
social context and the personal expression of a man today. The Cologne
Kisters theme in his drawings, especially the vague recollection of
the schemes, the transience of life and the equally fundamental movements
such as loading personal interpretation of body perspectives, particularly
the strength and vulnerability, the desire and the fear of the human
body. In short, the drawings of both touch the infinite circulation
of human desire and the confidence that our life is in constant motion
and change.
Biggs and Kisters stress that they themselves are always surprised
at what will draw on paper visible. They are surprised that everything
was in them. Each drawing is for a discovery. In particular, they
are amazed that each drawing is new and a step into the unknown again,
but during the process of her drawing is a constant repetition. Both
pursue any particular approach, but rather determine curiosity and
abandon the procedure. Biggs, trained artists, is happy that he with
the years an increasing ease and Rotzigkeit succeeded in the representation
of the figure, based on the desire for freedom of the German Expressionism
of the 1920s and the 1970s British punk. In the spirit of rebellious
revolt of Beat, underground and counterculture, by Biggs in his youth
received his formative impulses. Kisters is delighted when he succeeds,
the difference between pictorial and drawing awkwardness desire to
bring an intuitive security to disappear. The spirit of simplicity
as a measure. And conviction, not to make too much fuss about a single
drawing. This follows the idea that it is less about the individual
drawings than to drawing as process goes, the ongoing series of drawings,
and the transitions from one drawing to another.
In transition, art is, is the secret, the conviction. It is in this
coming together of the artistic approaches and Biggs Kisters. You
draw like crazy, without accurately determine what drives them, what
they are looking for and want to show, and while it drives them. Biggs
draws fundamentally on the paper of character blocks in the DIN-5
format, and he numbered his drawings continuously. Meanwhile, he has
arrived at a figure of about about the 1300th Kisters distinguished
preference to ordinary writing paper sheets in DIN-A-4 format, and
almost always in portrait mode. His conviction that one should not
be taken to hesitate when drawing because as the paper is too expensive
or too precious. Biggs and Kisters are safe, if you do not hesitate
when you draw, you can not fail also. For in-decided intuitive drawing
itself, the failure is still a kind of success. On the other hand,
in each drawing, whether developed or kritzlig-spontaneous, always
a failure. As always there is a remainder, which inevitably leads
to the next drawing.
Space Gallery
Gottesweg 116a 50939Köln, Tel: 0221-823 12 40
27th September to 23 October 2012
Opening: 27.9, 19 clock.
Open: Tue-Thu 11:00 to 13:00, 16:00-18:00 clock, Sat 12:00-14 clock