The group show 'Chapels' is about silence.
Nick Theobald's (US, 1987) compelling work with beeswax continue to enter new domains. In his most recent series, the canvas has been rolled around a piece of iron, which over time has rusted and left clear markings in the canvas. The statements of time and dekomposition are obvious, and we're left wondering about the shroud-like function of the canvas: what died?
Kaare Sebastian Golles (DK, 1985) presents a series of human body parts. The cast led objects are extremely heavy, but the hands, heads and feet still seem like they are struggling to breach the floor from some place in the underworld.
Keith J. Varadi (US, 1985) presents a series of small compositions in his distinct, abstract style. Varadi's paintings are rich in color, but quiet, and with a sweet sense of melancholy.
The paintings of Tyra Tingleff (NO, 1984) are magnificent, abstract visions of color, depth, rythm and variation. The landscape format suggests a gaze into a natural, cosmic or mental scenary, at peace with whatever truth we might carry around on our shoulders.
Wolfgang Voegele (1983, GER) describes a state between intuition and control with his simple black-and-white paintings. Emulating the intuititive gestures of a drawing, the large canvasses appear friendly and appealing, while also representing elements of disciplin and authority.
Baptiste Caccia's (FR, 1988) 'croix sur panneau' series are multiple layers of silk screen prints of photographs of unintentional brush strokes. The act of representation is thereby a faint echo of something that once was. In acadimic terms, a classic mise en abîme. In this exhibition, a ghost.