In the 20th century, with the importance of image technology, diverse and incalculable connections arose between photography and painting. Photos like accessories, inspiration sources and subjects assumed their role in artists studios. The floor and walls of the studios of a vast range of artists were often covered with pictures and images cut out of magazines and newspapers. Eugène Delacroix studied the process of making daguerreotypes and used his own photographs as a basis for figures painted in the 1850s. Édouard Manet was inspired by pictures and press articles on the execution of the Mexican emperor in The Execution of Emperor Maximilian (1868 69)1. Henri Rosseau made his naïfs paintings from images cut out of newspapers and, more recently, David Hockney relied his work on Californian houses photographs to paint a great deal of his swimming pools.
Using the same technique, Kilian Glasner uses a photographic image as a tool for his works. The landscape and the moment of enchantment are brought to the studio for being absorbed and recreated. Photography permits a pause to the eye, which remains settled behind the camera until the moment of creation. Natureza Incontornável (Inescapable Nature) discusses about Kilians experiences in Chapada Diamantina during four months. The immersion in nature, in its magnitude, provokes an expansion of sensations that are translated into works. Feeling every space experienced and transforming himself is also a method. Isolated, the artist becomes stone. He understands water movement and the moss flanking his walls. The hand, already hardened by effort, insists. Storms emerge. Raging rivers, anguishes and perturbations are revealed on paper.
Over time, Kilian gets used to solitude and the chosen technological exile. He seeks for regeneration in local rituals and medicines. He finds in Kambô, a frogs vaccine, a way to ward off negative states and get in harmony with nature. Regardless of beliefs and superstitions, the medicine seems to influence his work by making it more fluid, detached from the perfect image of photography, more aware of sensations, though. An essential immersion in nature, revisited from each trace and scenes linked to the plant kingdom.
Kilian Glasners new drawings come from the weight of his steps, from the references of the instinctive landscape of beings, from lines that exist between dominance and detachment, between automatism and trance, rational and unconscious.
Curator: Paulo Kassab Jr.
- Hans Ulrich Obrist, Caminhos da Curadoria. Ed. Cobogó, 2014