07.2019

Pascal Danz

‹Works on Paper›

5.4. – 18.5.2019

Opening Thursday 4th April 2019 18-20h

Pascal Danz, «Passage», 2001, Aquarell auf Naturbütten, 80 x 100 cm
Pascal Danz, «Crossing», 2002, Aquarell auf Papier, 54 x 72,5 cm
Pascal Danz, «Garden», 2002, Aquarell auf Papier, 72,5 x 54 cm
Pascal Danz, «Sightseeing/Tourist», 2001, Aquarell auf Papier, 80 x 100 cm
Pascal Danz, «dogface», 2005, Tipp-Ex auf Tinte auf Papier, 29,5 x 38 cm
Pascal Danz, «Landschaft/Struktur», 1997, Tusche auf Papier, 20,4 x 14,4 cm
Pascal Danz, «Landschaft/Struktur», 2005, Tusche auf Papier, 65,5 x 50 cm
Pascal Danz, «Crowd/Bests», 2005, Tusche auf Papier, 20,9 x 29,5 cm
Pascal Danz, «Dorf», 2005, Tusche auf Papier, 27,8 x 20,5 cm
Pascal Danz, «Winter», 2007, Tusche auf Papier, 20,7 x 27,7 cm
Pascal Danz, «Tannenbaum», 1998, Tusche auf Papier, 27,8 x 20,5 cm
Pascal Danz, «Pattern», 1995, Aquarell auf Papier, 18,5 x 23 cm
Pascal Danz, «Vedutte/Landscape», 2001, Aquarell auf Papier, 80 x 100 cm
Pascal Danz, «Lever House», 2002, Aquarell auf Papier, 54 x 72,5 cm
Pascal Danz, «Landscape», 2006, Tusche auf Papier, 200 x 150 cm
Pascal Danz, «Chrysler Building», 2001, Aquarell auf Papier, 100 x 80 cm
Pascal Danz, «Struktur», 1997, Tinte auf Papier, 20,4 x 14,4 cm
Pascal Danz, «Raumstruktur», 1996, Tusche auf Papier, 27,8 x 20,5 cm

Pascal Danz often worked in series of works, which he developed over several years. He characterized people, situations, moods and objects by reducing them to the most elementary. The artist was concerned with vacancies and subjectivity, with a confrontation with reproductive media and with painting itself. The source material for his works were film and photo motifs that aroused his interest. Even his own cell phone photos of blurred quality acted as an incentive painterly confrontation. At the same time it was about the review of personal memories and personal experiences.

In his works Danz discussed the interrelations between photography and painting. His pictures are not precise visual memories, the landscapes for example have something unreal, do not allow conclusions on given topographies and look strangely moved. Provoked by means of pure painting, images emerged that exceeded the imagination of possible landscapes.

Pascal Danz played in a special way with the supposed immediacy of photography. Intentionally he often selected as the starting material for his painting those medial interfered images, because of their dubious image quality and not necessarily intended "mistakes", such as overexposure or the particular choice of the section, they irritate. This way he confronted himself to the old experience that reality can not be grasped directly. When he included photographic peculiarities, blurred images, points of light, or overexposure, he was not concerned with formal gimmicks, but with thinking about seeing and perception.

Light is a constant in Danz artistic work, not as a random element, but as a defining factor that has shaped his passion for exploring painting. Light is not only used to make things visible, but also to disguise the obvious motive with too little or too much illumination. He masterfully understood how to put such trivial issues at the center - or to hide alleged main motives

As the title of the exhibition Works on Paper reveals, only paper works by Pascal Danz can be admired. For each series of works, watercolors, ink drawings, drawings and other different techniques were created on paper parallel to the paintings. In the exhibition, the visitor gets an insight into the different topics of Pascal Danz: landscapes, city views, people, mountains and much more.