Ina Bierstedt

Opening: Friday, 12 May, 2006, 7pm
Duration: 14 May through 17 June, 2004

The artistic interplay of allegedly meaningless details and effectively abstract imagery is the main feature of Ina Bierstedt's latest work. In her second solo exhibition at the KUTTNER SIEBERT Galerie, Ina Bierstedt presents scenes rich in artistic moods, which, especially in the sparsely accentuated compositions, challenge the viewer's associative talent: “(...) Certain subjects interest me, such as, for example, motifs from model building magazines. Through an arrangement of the models within the space created and their photographic representation, size relationships are suggested that emulate reality. The small mismatched pieces are, so to speak, creatures of a “hobby world”, in which notions of our cultural landscape are reflected. When I take these “creatures” out of their context and place them within my pictures, they are enveloped in a “foreign light” and are automatically fragmented, provoking certain associations as if on a stage. But I don't want to tell any stories and that's why the actors are missing. For me, the only important thing is the stage. Even when there are human figures in some of the pictures, I don't really blend them into the scenery. They are not playing a part. I like to use houses empty of any people, that, because of their lack of roofs and windows, look like unfit ruins...” (Ina Bierstedt)

The landscapes are extremely dense and complex. They arise out of a long work process, whereby the colour is tossed, brushed and dripped onto the canvas in various coats. It is only during the painting process that the final idea for the picture develops, particularly because the painting technique frequently leads to surprising results: in this manner, the amorphous creation produced by the dripping paint, might call up certain associations, which – as long as they are not overwhelmed by a new layer of paint – can give the original composition a new direction. By means of this multi-layered technique the artist achieves a multi-faceted representation: the different levels of paint that shine through appear to be rather watercolour-like at times, while in other areas they are extremely thick. In some areas, Ina Bierstedt uses colours that, because of their opposing characteristics, seem to draw away from each other. This manner of working also results from her interest in reflections and extreme light and shadow situations. On top of that, there are different areas of emphasis within the image, which result in breaks and disturbances. “When you look through a telescope and focus on an object, you sharpen it and then the space splits into imaginary slices. In general, a similar thing occurs in our perception process as well as when we remember things. During conscious or unconscious focusing, each person chooses a specific segment.” (Ina Bierstedt)

The artist works, above all, on the composition. During her training, she studied de Kooning and Francis Bacon's composition in particular. Her involvement with abstract painting shows visible results in her new works: she uses the possibility of quick and spontaneous strokes of colour for her own purposes. The landscape genre serves Ina Bierstedt as a “Matrix”: “One has a basis which does not demand a lot of thought, but is simply accepted and recognised.” Even so, she does not accept being called a neo-romantic. “Maybe it was the romantics who first discovered landscapes as the ideal projection surface, even though landscape painting is much older.” What is decisive for her work and that of other painters, is the disturbing moment, as well as the picture's profundity.

Silke Schnellhardt