Researcher of sound and visual. Uses sound and image to manifest states of mind in felt matter. Instant landscapes, textures, balance of tensions and space.
Researcher of sound and visual. Uses sound and image to manifest states of mind in felt matter. Instant landscapes, textures, balance of tensions and space. Many of the prints are filled with a painted composition of black and white shapes in the manner of Stoller or Wurtz, or they are described as photographs. In the case of Inderfurz, he depicts the works of Jane Freilicher, both the figures and the canvases. He also makes a number of his own prints, like the one where a nude woman is seen in the foreground, and another of a man with his back turned. His self-portrait, The Man With the Black Hair, is perhaps the most revealing. Here he is looking at his own portrait and the woman behind him, but the image behind him is a full-length portrait of a man who is seen from the back. The male figure is apparently not a man in the same position as the woman, yet the two remain linked by a line of vertical lines. This self-portrait consists of a body image, a reflection on a portrait, and the static pose of the artist. This technique is a technique that Eisenstein used in this exhibition. He utilized the technique of a film director to capture the self in a moment of temporary isolation, and this time it is an image of a woman, who stands nude before a mirror. She is seen from the back, and her body is reflected in the mirror, another image. The camera is fixed on the women body, and she faces us, and the mirrors reflection in the mirror is an image of the self reflected in the reflection. The painting is the painting of a self, and the mirror of a mirror. The person depicted is one that he perceives himself to be. This is what Eisenstein does in a number of pieces. The Self Portrait as a Painting, 1980, is a figure of an artist who appears to be painting himself. He is clearly painting himself. The painting is the Self Portrait as a Photograph.
In this sense, it is like a volcano, which is why the atmosphere is chilly and the people deafening.
A close look at the photographs, and a bit of analysis of the materials, reveal a skilled, sincere, and often witty amateur that has been making eye-opening and thought-provoking images and experiences for more than ten years.
Researcher of sound and visual. Uses sound and image to manifest states of mind in felt matter. Instant landscapes, textures, balance of tensions and space. In Unstable Ground, 1985, the juxtaposition of two images—one is of a pair of hands, the other a chain-link fence—is an opening of complex concepts. The image of the hand is a solid, clear, hands-off representation of a natural, normal hand. This is the hand of a policeman, and the image of the chain-link fence is a drawn image of a nonthreatening object. In this case, the middle is turned on its side; the hands, drawn in the middle, are not only uncalled and un-capped, but also uncalled and uncapped, and the fence becomes a sign of the invisible separation of the two. This work is characterized by the evocation of the nervous state of an individual, and the powerful and disturbing space it reveals between the viewer and the two hands. As a result, the image of the hand becomes the hand that imprisons and executes. The hand that hovers between the two, and between the two hands that call the image of the hand into question, and the viewer is placed between the two hands and the two images, which are simultaneously in danger of becoming identical. The tension between the two images has become the essence of the image, and it is the tension between the two images, the tension of individual feeling and collective thinking, that is decisive.The images in the second room are also uncertain. The two pictures of the hand of the policeman are a continuous image of the hand of a policeman. In the image of the hand, the policeman holds a clenched fist, a symbol of power. In the image of the hand, the hand has disappeared, but a line of handcuffs hangs from his left hand. In the image of the hand, the hand is the hand that is waiting to be released. The image of the handcuffs represents a strength of feeling, a desire that the individual feels and expresses in order to liberate himself.
Researcher of sound and visual. Uses sound and image to manifest states of mind in felt matter. Instant landscapes, textures, balance of tensions and space. In every piece, the eyes are the hand that looks. The most direct form of perception, while the best in the exhibition, is visual. Everything is viewed as the imagery of someone looking and thus a commentary on the mental process of looking. This is a form of thinking, and one that brings up the subject of art. With an image of an eye and a hand, two heads, a hand and a hand at the same time, an image of a hand and a head at the same time, the viewer is in a situation that is both simultaneous and alien. One's own image is realized in the other's, yet this is the only image one can possess. There is no question that this is an ironic representation, but I wonder if it wasnt a more playful depiction of a potential conflict between the two heads. The hand/eye conflict is not portrayed as an abstract situation, but as a situation that is portrayed. The hand/eye conflict is made concrete and becomes the representation of the two heads. This is a playful and ironic interpretation of the image of the hand as a symbol of the conflict between the two heads. In this way, the image of the hand is a metaphor for the conflict that exists between the two heads and the two eyes. The artist, not the artist as symbol, is the symbol of the conflict. The image of the hand is a figure of mediation and analysis of the image of the conflict. This is not the own reflection on the conflict, which is a reflection on the image of the conflict. This is the reflection of a mediated confrontation of images. The images of the two heads are not only the same, they are identical, but in this situation the two heads have the same representation. The artist, the mediation, is the one who deals with the image of the conflict, who, through his mediation, has brought it into the domain of art.