Schnipsel

Schnipsel A snippet that a friend once gave me years ago says: „I find it abstract and yet beautiful when we as humans “choose” people. With things it’s much more simple. we see something we desire - and we buy it. We keep it and then store it when a new object of desire catches our eyes. The same can be done with people. But this is not real. Since people are not things, and cannot be owned. But how can we then talk about choosing? I guess it’s about letting them enter. Opening your soul and letting them walk around and taking a look inside. Letting them be there also when you are outside yourself. When your inner room is not clean and the presence of your objects are hostile. Days with music and days with silence. it’s dangerous since they might pick up something and put it down somewhere different. They will change you as they had their lives in your personal chambers. But it is also dangerous for the person entering your space. They look at themselves in your mirrors and judge themselves in the light of your room. And they try to understand why their faces look so different. It changes them, and therefore it’s the most beautiful thing to choose to let someone in and to be chosen to get in. And to trust someone with all your softness.” Oscar Veyrunes’s practice derives from the prosaic and the available existing in contemporary living conditions. Weaving wire meshes around objects that are usually found, his sculptures addresse forms of tensions that lie between representation and abstraction, limitation and possibility, systems and individuality. By expanding on intimate observations, Veyrunes stages the ambivalence between stability and instability, softness and robustness, depth and surface, personhood and that which resolutely transcends it. Solveig Schmid's large-format paintings also suggest the existence of supposed spaces and moods. The direct painting process creates a play with nuances, density and permeability. The primer remains partially transparent, allowing both the canvas paint and the brushstrokes of the white primer to remain visible. The color glazes also change with transparency and opacity. In addition to the paintings, she is also showing works from the ongoing series Hieroglyphen- schnelle Gesten, which stand in isolation and explore the fleeting nature and absence of language. In the laminated paper works, background and gesture are directly linked. The boundaries of the surface are playfully broken and allow associations with private or public spaces.