Christian Hellmich, Erik Schmidt modules and mysteries 21.03.2014 — 06.05.2014

21.03.2014 — 06.05.2014
The clearly contoured shapes in CHRISTIAN HELLMICH’s paintings with their architectonic touch can be considered to be modules or elements of a more comprehensive creative system. The observer believes to recognize something familiar in the abstracted motifs that, however, can hardly be defined rationally.

Hellmich loves the balancing act between the familiar and the inexplicable, a reality instilling confidence while already revealing metaphysical breaks and suppressions. The precisely outlined, geometric individual shapes appear to be complete, but the total picture in its overall structure leaves everything open. Hellmich‘s lively paintings challenge the active observer who allows himself to become involved in a dialogue to form his own idea.

The artist, born in Düsseldorf in 1977, frequently changes the technique and the quality of the colour application on his canvases. By that his delicately composed works draw the attention to the pure structure of the material.

At a first glance, ERIK SCHMIDT`s paintings’ captivating power seems to result from energetic fields exclusively made of material, strength, and colour. However, Schmidt‘s suggestive works with their artistic force break up the basic patterns of tradition from which they obviously are derived (landscape, town, travelling, hunting). The modernization of the classical genres is not the objective of the artist who was born in Herford in 1968. Schmidt’s depiction of a hunting scene makes you feel the psychic structure of the occurrence by means of its shapes and restless colours – the "hunting instinct" in that case. During his journeys to Israel, the painter and film-maker met an emotionally and politically charged landscape, the energy of which he materialized in his painting series "Working the landscape“.

Schmidt often layers his colours, on top of the other. That results in the existence of hidden and open fields; undercoats and surfaces. And, finally, the colour itself exists in its own nature. It approaches reality in the form of a pointillist force field. Some titles of his paintings and particularly his cinematic œuvre show that Erik Schmidt, besides the elementary potential of painting, also includes meaning of content and social aspects in his work.

We present the film "Hunting Grounds", made in 2006, to accompany the exhibition of the