This report serves to record
on the canvas
behind the canvas
through the canvas.
Oil paint that oozes out, gently, only visible if you are able to see. Patterns that eat their way through the membrane of the canvas, take it over, and disappear until they are all that remains. Memories that imprint themselves through the act of holding on to what has already been. It is like a photograph, a transfer one might say, suspended by the decision, as soon as the last stroke was made, embalmed in time from then on. It invites to linger.
It invites to decay.
simple science oft the image,
there are no more questions: legacies, goals, thoughtlessness, copy, unique, in the middle, beside, impression
The process of imprinting lifts the object out of its temporal constraints and transfers its reality from its immediate presence in space and time. It is not the artistic work itself that creates permanence, its the process that inscribes time into matter,
with every new act of looking,
with each shift of gaze, it burns itself into the retina,
like a flower or snowflake whose beauty is inseparable from its earthly origin.
In einer Störung der Verweisung, wird aber die Verweisung ausdrücklich.
A system that preserves and organizes serves to secure and ensure legibility. It records without creating stagnation, creating accessibility in a modified form. It is as if collecting and structuring creates a network of references in which meaning can be constantly renegotiated. How would you like your glass of water? Because the low humidity in the air causes the mucous membranes to dry out very slowly, which should be prevented (one would think)
Matthias Gmeiner works with painting and frottage. The exhibition PALMAR shows four different series of works.
–Sarah Albrecht
Matthias Gmeiner (*1998, DE) lives and works in Karlsruhe. He will graduate in 2026 from David Ostrowski’s class at the State Academy of Fine Arts Karlsruhe. PALMAR is his first solo exhibition.
