Stephanie Bialek

Her pictures mostly depict landscapes or sceneries in nature which she paints with a minimalistic approach. These landscapes are complemented by works showing abstracted figures with a vigorous appeal.

Using her diverse palette of oil- and tempera colors the artist creates pictures that remind of expressionist landscape paintings or works by Edward Munch. In her earlier pieces, which depict figures, the painter concentrated on expression. In one (almost) duo-chromatic work you see a ghostly yellow figure which seemingly disperses into the deep-blue background. Further figures are holding their heads or are screaming. The furious power of her painting technique give the images their emotional nature. The images are so strong that they tend to pull the viewer in and at times the painter has lost herself inside them.

In her later works Bialek started to focus on landscapes and prove herself as a master of atmosphere. The change of subject in the oeuvre helped to ground the artist. She has a unique ability to enrich seemingly harmonic motifs with a touching depth. She continually paints trees, which are standing alone or in small groups. Bialek lets them sway in the wind dramatically or dips them in dark red or blue tones for sunrises or –sets. The supposedly idyllic paintings appear slightly deceptive on the viewer. There seems to be more behind the dislocated trees and the views on the sea or mountain villages than just nature romanticism. During her studies Bialek’s reception of her surroundings changed, which she more and more perceived as a threat. For the artist painting was the only way to deal with these feelings: “No matter how great my misery was, I always wanted to bring color into the pictures.”

The trained architect Bialek has been painting since 2003 in the studio of sculptor Karin Gralki and at Maria Neumair of Kaspar Hauser Stiftung. She lives in a sheltered housing project of Pinel gGmbH.

Henrik Zoltan Dören

(geb. 1980 in Aachen) widmet sich als Outsider Artist seit  2005 der Malerei.

Da sein Hauptinteresse schon immer auf Kunst, Religion und das Reich der menschlichen Fantasie als solches gerichtet war, dominieren deren Inhalte auch seine Bilder.

„Er übersetzt seinen eigenen Blick auf die Welt in ein dichtes Feld aus Farben, Zeichen, Symbole und Schrift, das seine oft pulsierenden Arbeiten definiert. Der Raum der Bilder bleibt unbestimmt. Durch die Freisetzung der Farben, Figuren, linearen Zeichen und Buchstabenreihen bildet sich ein bewegliches Netzwerk. Seine Bildwelt ist durch Zahlenmystik, übernatürliche Zeichen-Sprache und zur gleichen Zeit seiner naiven malerischen Präsenz geprägt.“ (Matthias Hofmann, Galerie ART CRU Berlin).

www.henrik-zoltan-doeren.com

E-Mail: henrik.doeren@gmx.de

Michael Golz

Awards and Exhibitions:

Euward 7 (1. awardee), Buchheim Museum, Bernried / Starnberger See, 2018
Athosland, Galerie Fabuloserie, Paris, 2017
Voyage dans le Pays D’Athos, Collection de L’Art Brut Lausanne, Switzerland, 2017
Reise ins Athosland, Kunstmuseum Thurgau, Switzerland, 2016

Torsten Holzapfel

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Katinka Kaskeline

The artist Katinka Kaskeline from Berlin works with diverse materials and techniques that she brings together and develops into something new. She draws, paints and produces collages about subject matters that she discovers in her world and that seize her attention. The precise representations of fine, elaborated and detailed likenesses of human bodies, of dolls and fish, are an invitation to capture the complex connections of the images that are embedded in these motives. The special intensity of the represented subjects, e.g. the maggots and insects on a bed of abstracted, densely wounded bodies in “Shame” or the enchanted and gloomy imagery she collages out of animals, bodies and symbolic objects which are made using paint, cutouts from her own works, paper, as well as natural materials like dried insects, allow the viewer, by their expressive power, to think of Egon Schiele and Francis Bacon, and remind us of elements of surrealism. In this way, the artist creates her very own aesthetic that makes it possible for her to express phenomena in haunting images which people ambivalently can react to, i.e. between their own personal aversion and fascinating attraction.

Markus Meurer

Markus Meurer creates his art out of wire using a diverse range of found objects and packaging leftovers. In the back of the gallery a room installation is on display, consisting of collages and numerous smaller works, mostly obscure insects and animal-vehicle hybrids. The exhibition is complemented by several in part man-sized figures. The art of Markus Meurer is characterized by special relations between nature and technology. There is no worthless item reflected in the artist’s oeuvre, only matter. In the world of objects and materials surrounding him, Meurer doesn’t know any hierarchy of valences. A bubble gum wrap can be as meaningful as the leftovers of an apple or bone remains. The artist explains, that the objects are communicating with him. If he, for example, finds a certain crown cap on the ground, he senses immediately, that he needs it to finish a piece. For Markus Meurer, his work is part of a larger philosophical context. He considers himself a sufferer, who can save the surrounding world piece by piece with every new artwork, which imply forces of strength or protection. In a decade long practice the artist developed an unmistakable style and a characteristic stylistic idiom. The art of Markus Meurer is rich in biographic references charged with secret meanings. He lives with a large number of his works and only reluctantly secedes from them. During the last years they were shown successfully in exhibitions, among them in Münster, Düsseldorf, Rotterdam and at the Halle Saint Pierre in Paris. At the museum Dr. Guislain in Gent a room for his works has been installed in the permanent collection. Since he was a little child the artist, who grew up in a very rural environment, learned from his father (also an Outsider Artist) to use tools and wire. After the father had an accident with his motorcycle and lost a leg, the family had to live in poverty. In this situation Markus Meurer developed his talent to use any possible material for specific purposes. The Meurer’s house became a total artwork, which initially the father and later the son worked on continuously, densely populated by a growing number of miniature motorcycles and figures of wood and stone. The municipality of Monreal showed no comprehension for this naïve-naturalistic art of the Outsiders and finally tore it down.

Huub Niessen

Huub Niessen (b. 1943) lives and works in Helmond, NL. Drawing has been a constant companion to the artist throughout his life. He studied languages in Nijmegen and worked as a journalist. Later he experienced a series of heavy depression spells that forced him to quit his job. It was in these situations that his artistic practice became especially intense. In his images Niessen creates a world that follows it’s own laws. They are narrative scenes, elegant and wryly-humoresque at the same time, with titles like „Ambition“, „Biological Mother“ or „Who am I“ and full of the artist’s feelings and thoughts, which are sometimes hard to express in words. He usually works with black ink and a minimal color palette on drawing paper and carefully composes picture stories and strange situations, which are reminiscent of book illustrations. Niessen has found his own language: in a highly characteristic style he creates his own figures, which always have something fable-like to them. Many of his figures are placed on backgrounds, or are equipped with speech balloons, filled with never-ending surfaces of handwritten text. Their typeface however remains (mostly) unreadable. The viewer is invited to decipher the metaphorical meanings of the artists‘ bizarre images. Many of his works are part of collections like the Guislain Museum, Belgium, the Musee de la Creation Franche, France, and Sammlung Demirel, Germany.

Peter Padubrin-Thomys

The self-taught artist (b. 1968 Halle/Saale GER) works mostly with acrylics on canvas or paper at the moment after having focused for years on collages, linoleum- and woodcuts. His pasty paintings often depict humans or figures resembling angels. With a special pen and great graphic talent he shoves aside the soft paint. The dark priming color appears and gives contours to his characters. Their heads, hands or limbs fill up the pictorial space disproportionally, which bestows them a unique energy and spontaneity. When the artist works with a contrast-rich and wild color palette his figures are reminiscent of Basquiat or they resemble – when he uses more delicate white, gray and pastel tones – Paul Klee’s angel drawings.

Peter Padubrin-Thomys deliberately chooses an outsider art or art brut approach for his acrylic paintings: they appear sketch-like and bizarre, raw and color-intensive. His figures emanate an aura with a magic appeal. Placed alone or in groups they develop a fascinating, dreamy and mysterious effect. They float through the image and appear to relate to each other meaningfully and don’t seem to follow any common rules. Oftentimes the figures reach their oversized hands or limbs towards the other or communicate with another like in the untitled motif from the series “In Pantoffeln durch die Träume” (“Through the Dreams in Slippers”). In some kind of game strong forms of expression occur. Other titles (like e.g. “Zwei Väter” “Two Fathers” or “Der Hüter der Herde” “The Guardian of the Herd”), which are sometimes written into the painting by the artist, give further clues to the content of the depicted figures or complement them imaginatively.

A naïve prevailing mood resonates through the pictures. At a closer look however it becomes obvious that Peter Padubrin-Thomys develops a special impetus – between mind and matter, inside and outside worlds, lightness and depth.