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of the cheapest cities in germany with interesting immigrants artists from all over the world and a lot of culture so i moved to berlin in 2006 it was a good decision even if the rents are higher and it s overcrowded with artists now everyone is or becomes an artist in berlin anyway i got lucky and berlin has supported me with fellowships culture and an interesting art scene so i can become more and more professional in my work i often ask myself if the city i am living in has impacted my artwork i think maybe my preference for spray paint is due to berlin s street art stuff that i come across everyday what i really love is that every hood in berlin is different and has it s own rules wedding my working hood for example is strange but honest and makes me feel grounded paul weiner the market for contemporary painting has been very strong as of late it s becoming common to hear critics and artists alike saying that money is now influencing art to make it trendier or more easier to sell do you ever feel impacted by the market s demands jenny brosinski no paul weiner a large contingent of art critics are referring to contemporary abstract painting as zombie formalism the most recent venice biennale focused heavily on conceptual art as a contemporary painter do you feel pressured or tempted at all to move into other art forms such as sculpture video and installation or are you dedicated only to painting jenny brosinski for me it s not interesting or useful to jump on a running train even if critics invent interesting neologisms for my kind of painting it is not my job to think about something like that i am painting they re writing everybody should do what they re best at to be focused on my work includes being honest with myself as well as with the material i have to use so if it would be important to use video or installation for myself and my artwork someday why not as an artist you should have the freedom to do whatever you want even if the market for contemporary painting has become very strong i am a painter painting paintings please view jenny brosinski s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ 1 comment september 23 2015 gert scheerlinck painting with materials gert scheerlinck s paintings extend into the field of material interventions through which he studies the poetics of everyday life scheerlinck presents found objects and arrangements that approach conceptual ambiguity allowing for open interpretation while offering intensely minimalist aesthetics reminiscent of arte povera splitting the difference between painting and sculpture scheerlinck complicates his found objects by entering a world of intense yet blasé anecdotes commenting on the fabric of society he revitalizes discarded materials to catch his viewers in a web of imprecise or displaced signifiers and develops tension in a reconstructed banal conversation scheerlinck is an artist from belgium who has exhibited his work at museum m in leuven belgium campo site ghent belgium patrick studios leeds uk abk aalst belgium entrepot fictief jan colle galerie ghent belgium flux factory long island city ny usa and in a variety of other international spaces he has upcoming exhibitions at bozar de l abattoir in bergen netherlands opening october 17th and at oude beurs in antwerpen belgium opening october 21st critique collective previously interviewed scheerlinck about his early paintings before he transitioned to a material based practice further images of scheerlinck s artwork can be found on his website paul weiner since we last spoke you made a transition to a largely material based practice could you explain what prompted you to stop using so much paint or at least to use it differently and pursue the assemblage of materials and objects gert scheerlinck as you know i m trained as a painter during the training the most important tools were canvas and paint the canvas could be replaced but painting without paint was not addressed during my education even after my training paint remained a way to express myself for quite a while when you interviewed me the first time the canvas was already replaced by non artistic material but i could not let go of the paint yet the real turn came when a curator asked me about the importance of paint in my work at that time material had already taken a prominent role and the paint was incidental that was the moment i started to see painting differently i still apply the same principles but i replaced paint with materials and the interaction with space is even more intense now i paint with material paul weiner do you expect your viewers to have the same thoughts or interventions with these materials as you do gert scheerlinck absolutely not every material evokes some association or arouses certain feelings i often refer to daily life the natural environment cultural stratification relationships and contradictions but this does not necessarily correspond with the viewer the interpretation can vary from person to person because my work is suggestive my work is often described as poetic an art reviewer formulated it as follows each of these art works are an image of life itself in small and higher expectations in dreams and nightmares in findings and concerns the artist profiles himself as eyewitness of everyday life i couldn t say it better myself paul weiner where do you usually find the components for your work and how does this impact the meaning behind the assemblages gert scheerlinck actually i m not even consciously looking it seems rather that the objects find me in one way or another they grab my attention through their shape color or texture and of course the object must also evoke suggestions to me most people think i have a studio full of smelly and dirty stuff nothing is less true i just pick up the objects i feel connected with the object must speak to me it s hard to explain it is a feeling a kind of sympathy an understanding it feels good or it doesn t the place where i find an object is of interest to myself but it has no effect on the final assembly this encounter is needed because i want to bring back that what is removed from society paul weiner though you have moved away from using paint in your work some of your pieces still reference art materials for instance in untitled slippers you rest a pair of slippers against a bent canvas that has been stretched and primed other works though totally eschew art materials after your transformation in moving away from paint how do you feel about the removal of any traditional art making materials gert scheerlinck the piece with the slippers you refer to can be considered a transitional piece the broken canvas does indeed refer to my past as a painter the slippers belonged to my wife the one who supported me in my career choices she understood fast enough that a canvas was limiting me and motivated me to go beyond the obvious in that way she played an important role in who i am as an artist when the word canvas was mentioned i felt ill at ease because it needed to be used in its original meaning in this piece of art i don t use the canvas in its original function but as mere material with a connotation to painting that s a big difference i found distance from the use of canvas and paint in their traditional means to create art from a different approach in that way i don t see why i should take full distance or never use them again paul weiner as you mentioned your work can reference life the environment and cultural stratification since you are using found objects do you allow the objects speak to their own implicit politics or are you constructing stories out of these objects that serve your own political views gert scheerlinck every artist working with materials needs to be able to feel the material both physically as well as emotionally there needs to be a kind of affinity with the material i never start working with the object right after finding it it stays in my studio for a while i observe and scan its form and color its emotional value memory or happening and this takes time when in time the object can be on its own and tell its story i don t have anything to add i need to accept it as ready made e g mattress in other cases i work on the object and create my own story i scan it and transform it by combination or deduction often i put hard against soft or warm against cold i search for dialogue a good example is in transit a recent artwork where two objects a chain and a piece of tire form a relationship the tire symbolizes a movement towards the future the chain refers to the past dragging along the burden and desire to break out of the routine on the other hand it is also symbolizing a bond the dutch for bond is band which is also the word for tire this piece was made for the benefit of an educational center where they support youngsters with serious and prolonged issues paul weiner your work often takes on muted hues black and white shades and minimalist or abject presentation are these visual choices made for stylistic purposes or is there a conceptual reason for the simplicity many of your works take on gert scheerlinck i consciously work with minimalism because i want to keep the focus on the found object that needs to be observed in its simplicity and beauty because of the fast and evasive society we live in we take approximately 8 to 15 seconds time to look at a piece of art to learn how to look at art is a thing of the past every detail and all questioning escapes the viewer as an artist i feel it is my objective to put that in the spotlight and to invite the viewer to learn again how to watch and appreciate the little things in life to come back to your question in short the answer is both i don t consider the artwork acceptable when both conditions aren t met take the sock and apple as an example visually this a very aesthetic piece of art but it makes you think why has the sock been stretched and what is the apple doing there these are two very recognizable materials most viewers can relate to it invites them to think for me it is a very personal piece the sock belonged to my daughter when she was 4 years old stretching the sock symbolizes her growing up and the apple refers to the apple of my eye the one i love the most please view gert scheerlinck s website and like critique collective on facebook at http www facebook com critiquecollective subscribe to the critique collective newsletter for additional content faster updates art tips and insider information absolutely free back thank you for your response name required email required submit δ leave a comment august 18 2015 robert szot relentlessly pursues the seduction of lyrical abstract painting for fourteen years robert szot has been a constant in the fluctuating brooklyn art scene the artist who arrived in new york from texas as a twenty five year old and has since felt the pressures of new york s stage embodies honesty in his work szot does not shy away from beauty or painterly skill instead pushing lyrical abstraction forward while rejecting the ever present pull of zombie formalism his work is hard to pin down evincing canonical references in his formal techniques and relationship with beauty and music that seem connected with the abstraction of synchromist artists such as stanton macdonald wright or morgan russell a movement that predated abstract expressionism by 30 years these references though are mediated by the history of color field painting at times reaching washy paint handling and breaks between colors reminiscent of helen frankenthaler regardless the clearest position in szot s work is a deadly sentimentality the kind of pride in the american painting lineage that leaves szot s work poetic vibrant emotional and unapologetically divorced from the often cold embrace of contemporary painting paradigms robert szot is represented by muriel guépin gallery also the site of his 2014 solo show woke up on broadway szot s work has exhibited in a variety of galleries across the united states from new york to los angeles and texas his works have been collected in america and abroad szot s paintings can also be found on his website early voting oil on linen 64 x 53 paul weiner your paintings are largely created with oil on linen what draws you to these particular materials robert szot i ve always used oils oil paint is a much more particular and fussy medium than say acrylic paint but once you re accustomed to its personality oil paint can be worked with for a much longer time before it dries that s important to me because i am a constant editor i also often utilize underpainting with just a thin layer of overpaint just a suggestion of another color and i find i can only achieve that with oils the linen came into play just a few years ago it feeds my love of history to use linen prepared in a very traditional way the linen i use has a medium tooth surface that is sized with rabbit skin glue and then double lead primed it is extravagant and i often wonder if i should be ruining it by painting on it it truly is a love affair i am embarrassed to say painting on oil primed linen provides a much slicker surface too i find oil just sits on top of it and dries very vibrantly i use the best art supplies i can afford because when i sell a painting i want at the very least to feel confident in the materials i hate the idea of selling someone something cheap exit california oil on linen 54 x 62 paul weiner contemporary abstract paintings are often labeled as being decorative do you consider your work as having any decorative influences or would you reject this interpretation robert szot i would reject that interpretation where my own work is concerned but i understand why that thought is out there there is so much access now which i encourage but with access comes a flood of under developed and under thought out abstract paintings really there has been a flood of under developed work abstract or otherwise lately i think many of these paintings are created for decoration and are not meant to be interpreted or studied as serious creations it s the climate we are in now fame over everything be outrageous show your ass whatever it takes to get the attention of strangers regardless of its ability to last or how much thought it will provoke as a result the impetus for a painting often becomes a couch and not contemplation i don t paint like that i won t lie to you and say i don t appreciate attention but more than that my work is fiercely personal to me and i won t customize it to match decor often i will get a request for a commission that comes with conditions from the client color size etc i get it it s an investment and something you are going to hav...
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