Body of Memory
In this publication, Swiss artist Stefan Gritsch is documenting the body of his work dealing with acrylic paint as sculptural material by a large picture stream. The book is structured in several work groups: still lifes, pretty things, cuts, trophies, bones, lost vases, tools, blue prints, impacts, tearings, tables, war flowers, prayer rugs and cities. With an essay by the artist.
“When, after dismantling an exhibition of my almost 30-year-old bodies of acrylic paint, I add new paint to them in the studio or cut them up to create new colour combinations, when I include soup bones collected over the past 20 years and newspaper clippings of maps showing conflict zones, then I see that as a gesture of repetition and transposition, as a nod to a place and as a reflection of the phenomenon of time. Taking an image apart, deconstructing it with a view to difference and relating it to everyday artifacts means revisiting it and allowing for a new modified view that includes the past. I don’t think focusing is important, nor is a detached and objective approach. That is just a way of discovering, describing and representing details. What is important to me is touch. I’m looking for closeness and blurring and blending; I want to be in between as a point of departure for producing something visual”
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