The gallery Ratton Cerâmicas in Lisbon/Portugal opens the exhibition ‘Pelos Cantos da Casa’ (Through the corners of the house) by artist Andreas Stöcklein. Opening night is on 9th of March 2009. The exhibition runs until 31st of May 2009.
German artist Andreas Stöcklein has worked in Portugal as a tile painter since the early 1980’s. The primary focus of his work is the integration of tile (azulejo) in private and public spaces.
The works in this exhibit use the inherent subdivision of the ceramic surface to suggest perspectives and layers of areas. The clearly defined and colored areas link together in contradictions, referring to 4-dimensional models of space, creating structures in Trompe l’oeil with an inner logic and formal rigor where the azulejo is the modular element.
These structures integrate imaginary inhabitants throughout their impulse of gesture, which manifests as the physical mark of the unsaid. The recurrent motive, marking the hand, is as old as the necessity to inhabit a space.
The exhibition also contains expressive brush drawings in China ink. These are inspired by the ruins of an ancient convent, occupied over time by several distinct social groups – most recently by immigrants from Portugal’s former colonies, their presence imprinted on the walls of precarious shelters within the original building.
The exhibition pursues the intimate and its physical remains in an otherwise anonymous environment.
German artist Andreas Stöcklein has worked in Portugal as a tile painter since the early 1980’s. The primary focus of his work is the integration of tile (azulejo) in private and public spaces.
The works in this exhibit use the inherent subdivision of the ceramic surface to suggest perspectives and layers of areas. The clearly defined and colored areas link together in contradictions, referring to 4-dimensional models of space, creating structures in Trompe l’oeil with an inner logic and formal rigor where the azulejo is the modular element.
These structures integrate imaginary inhabitants throughout their impulse of gesture, which manifests as the physical mark of the unsaid. The recurrent motive, marking the hand, is as old as the necessity to inhabit a space.
The exhibition also contains expressive brush drawings in China ink. These are inspired by the ruins of an ancient convent, occupied over time by several distinct social groups – most recently by immigrants from Portugal’s former colonies, their presence imprinted on the walls of precarious shelters within the original building.
The exhibition pursues the intimate and its physical remains in an otherwise anonymous environment.
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