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Untitled
2007
Jens Wolf
Painting
195 x 140 cm
Acrylic on plywood
Blots along the lines, cracks in the forms, paint chipped by the artist: Jens Wolf’s reworking and amendment of abstraction makes room for accidents. When he paints on plywood, as here, he allows not only the grain and knots of the wood to remain visible, but also the broken corners and damaged edges. Likewise, he enjoys deliberately introducing faults into his surfaces and monochrome stripes. By inserting imperfection into the very heart of the ideal of formal purity conveyed by
abstraction, he has embarked upon a new painterly path.
Blots along the lines, cracks in the forms, paint chipped by the artist: Jens Wolf’s reworking and amendment of abstraction makes room for accidents. When he paints on plywood, as here, he allows not only the grain and knots of the wood to remain visible, but also the broken corners and damaged edges. Likewise, he enjoys deliberately introducing faults into his surfaces and monochrome stripes. By inserting imperfection into the very heart of the ideal of formal purity conveyed by
abstraction, he has embarked upon a new painterly path.
Jens Wolf
Germany
Born in 1967
Born in Heilbronn, Germany.
Lives and works in Berlin.
Jens Wolf studied at the Academy of Fine Arts in Karlsruhe under Helmut Dorner and Luc Tuymans.He belongs to the new German avant-garde trend that has rethought the history of abstract art. Modernist references and allusions—Bauhaus graphic Constructivism, Barnett Newman’s colour fields, Kenneth Noland’s lozenge-shaped canvasses, Frank Stella’s bands of paint, Joseph Albers’ optical effects—are scattered throughout an oeuvre that manipulates the forms and colours of Geometric Abstraction to bend the codes in an often ironic and tongue-in-cheek manner.
Lives and works in Berlin.
Jens Wolf studied at the Academy of Fine Arts in Karlsruhe under Helmut Dorner and Luc Tuymans.He belongs to the new German avant-garde trend that has rethought the history of abstract art. Modernist references and allusions—Bauhaus graphic Constructivism, Barnett Newman’s colour fields, Kenneth Noland’s lozenge-shaped canvasses, Frank Stella’s bands of paint, Joseph Albers’ optical effects—are scattered throughout an oeuvre that manipulates the forms and colours of Geometric Abstraction to bend the codes in an often ironic and tongue-in-cheek manner.
Artwork of
Jens Wolf
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