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Felix Baudenbacher
most recent work

At the core of my artistic practice lies the question of what kind of painting (figurative or abstract) employing the materials and concepts of classical and especially classically modernist painting is still possible in the twenty-first century. By 'possible' I mean relevant by virtue of either formal or thematic innovation or inventiveness.

These are the maxims I have developed for my painting practice over the past fifteen years:

1) know your vocabulary
2) master your technique
3) insist on clarity
4) most importantly: insist on originality!

Today, I'm only interested in making paintings that don't remind me of anything else. Every piece has to express an emotion which, in that particular combination, has never been expressed before. If a painting reminds me of someone else's work, it is rejected.

Part of my process consists of finding the smallest of openings in the densely woven tapestry of classical and classically modern painting, spaces where I feel valid and vital painterly exploration is still possible. This often comes through the study of other painters' work: there might be something in the layering of paint in a Matisse or an aspect of Piero della Francesca's colour palette where I feel for a split second that there is something worth exploring. Then, it's about trying to grasp hat, to find out what exactly it is about that detail that grabbed me and work with that, cutting all ties to the artist or the piece that provided me the opening. Often times, I don't find it and all the work that went into searching is discarded but when I do find it and develop it, the results are often spectacular.

 

 

 


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