Matthias Weischer, Beyond the canvas

Matthias Weischer

Beyond the canvas

October 2011 - Matthias Weischer, 2004-2005 Visual Arts Protégé

Spurred on by the many lessons and insights he gained during his mentoring year with David Hockney in 2005-2006, German artist Matthias Weischer continues to seek new ways to develop his artistic vision. Over the past two years, he has been trying many different techniques.

With Hockney, he had rediscovered drawing and started working outdoors. “Drawing is now a way for me to get ideas and inspiration,” Weischer says. “I make a lot of sketches and graphics and they all lead to painting. Things are coming together and fit between landscape and abstract. I’m still drawing in gardens, but allow space for imagination and interpretation, freeing myself from my own feelings and playing increasingly with what I bring into the studio. In the last few years, I have gathered a kind of vocabulary. Now I can play with it.”

From June to August 2011, Weischer exhibited some of the results of his exploration of paper-based techniques – pulp paintings (applying coloured paper pulp to paper), prints and lithographs – at the Museum der bildenden Künste in his home town, Leipzig. A selection from the exhibition, entitled Alice, Armin und all die anderen (Alice, Armin and all the others), was shown in September at the Kunsthalle Bremerhaven.

One of Matthias Weischer’s most recent works, pulp painting “Koje” (2011)© Galerie Eigen + Art – photographer Uwe Walter © 2011, ProLitteris, Zurich

One of Matthias Weischer’s most recent works, pulp painting “Koje” (2011)
© Galerie Eigen + Art – photographer Uwe Walter © 2011, ProLitteris, Zurich

After a whole year of working with paper only, Weischer has recently returned to canvas and oil painting. “It is interesting to see the differences in the way I paint today. Before I would start right away and add up many layers one on top of the other. For pulp painting and printing, you have to be well prepared, especially as I use a lot of different colours.” He has also developed his skills for theatre design, creating his own style.

In 2010, Weischer made two set designs with theatre director Armin Holz. One for Miss Julie by Strindberg, performed at an open-air, summer festival in front of the Neuhardenberg Palace near Berlin. The other, for Shakespeare’s Twelfth Night, for which he also designed the costumes, is again being performed this November, in Luxembourg. Weischer will design two more sets next year.

“Working on set design also influences my work as a painter,” he says. His latest exhibition takes place in Puerto Rico in November. Then he intends to take time out to “reformulate” his many new ideas.

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