The exhibition on paper is dedicated to the medium of paper, in particular the paper as an image carrier. The artistic juxtaposition of Ekkehard Tischendorf and Marion Fink shows how diverse and different the painting and pictorial processing of paper can be. The material draws on a long, significant history and still fights alongside classical media such as the screen for its reputation. The special aesthetic quality and the enormous versatility of paper are highlighted by the two techniques of the artists and put the paper on his deserved pedestal.
In Marion Fink's large-format works on paper, one encounters abstract scenarios with figures and objects as well as words and fragments of text. Her imagery plays with aspects of the real as well as the seemingly unreal and presents itself as in snapshots of a daydream. Philosophical considerations regarding the individual construction of reality and identity flow into her image-finding as well as influences from popular culture and social media. Collage-like, the various elements combine to form motifs, which then find their way on paper in the same puzzle-like way. Through the use of a glass plate as a pressure body (on which the oil paint is first applied, in order to subsequently press it with physical force onto the paper), the translucent structures of the large-format monotypes are created in many small steps. (Marion Fink)
Ekkehard Tischendorf steps in front of paper and canvas and lets it happen. Researching and questioning, looking at color and form, he opens up a painterly field of possibility that leaves much in the balance. The artist has a rich stock of images, so that he then loses himself in painting during the working process, lets himself be guided by the resulting compositions in repeating, transforming, transforming, and reinventing, and in the act of direct, intuitively directed action, dense as well as tender Image worlds invents. The intentions often steer into the unknown, chance takes the lead. This creates an open and at the same time condensed surface that draws its tension precisely from the ambiguity of its motifs. (Günther Oberhollenzer)