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Jan-Ole SCHIEMANN Im Gestöber unterschiedlicher Antriebsform…
See original version (French)
67
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Jan-Ole SCHIEMANN Im Gestöber unterschiedlicher Antriebsform…
See original version (French)
Estimate €6,000 - €8,000
Voluntary lot
Description
Jan-Ole SCHIEMANN
Im Gestöber unterschiedlicher Antriebsformein - 2023
Acrylic, oil and ink on canvas
Signed, titled and dated on the back
160 x 145 cm
Acrylic, oil and ink on canvas; signed, titled and dated on the reverse
63 x 57.1 in.
Provenance: Wentrup, Berlin
Florence and Daniel Guerlain Collection, Les Mesnuls
FR
Stencils, acrylic paint, oil pencil, charcoal or drawing ink: these are the tools Jan-Ole Schiemann uses to create his paintings, often in large format, which oscillate between gestural abstraction and organic figuration. A superimposition of different levels gives the canvas an elusive depth. In recent years, the artist has succeeded in developing her own formal vocabulary for her paintings, which art critic Estelle Hoy describes as "visual scat" and art historian Philipp Fernandes do Brito compares to "musical sampling".
In music, scat is the improvised singing of sequences of syllables strung together rhythmically and melodically, without any lexical meaning or coherent sense. Onomatopoeic instrumental phrases are imitated
and superimposed on each other in different scores. A unique and irreplaceable
irreplaceable.
Schiemann makes this form his own, transposing it into the visual domain thanks to his technical and artistic skills.
artistic skills. Tonal nuances, layers of acrylic paint, fluid areas of colour and, occasionally, swirls of
oil sticks. A mental link between sounds resonates in the paintings; an associative sound repertoire that Schiemann attempts to make visible, and to which he gives an analogue structure. The titles of the works often refer to musical elements - such as BigDataCorrupter and ContourBoostWust, which are inspired by the names of
effect pedals. Schiemann uses musical and acoustic thinking to ultimately describe what is happening in his paintings. This link with music seems obvious, given that he is himself a passionate electronic musician.
EN
Stencils, acrylic paint, oil pencil, charcoal, or drawing ink - these are the tools Jan-Ole Schiemann uses to create his often large-format paintings, which move between gestural abstraction and organic figuration. A superimposition of different levels creates an intangible depth in the canvas. In recent years, the artist has succeeded in developing his very own formal vocabulary for his paintings, which art critic Estelle Hoy describes as "visual scatting" and art historian Philipp Fernandes do Brito compares to "musical sampling". In music, "scatting" is the improvised singing of rhythmically and melodically strung together sequences of
syllables without a word meaning or coherent sense. Onomatopoeic instrumental phrases are imitated improvisationally and layered on top of each other in different scores. A vocal rebellion that is unique and unrepeatable. Schiemann appropriates this form and translates it into the visual with his technical and artistic skills. Tonal nuances, layered acrylic paints, flowing areas of colour, and sometimes a whirlwind of oil stick. A mental linking of sounds resonates in the pictures; an associative sound repertoire which Schiemann tries to make visible and thus gives it an analog structure. Often, the titles of the works refer to musical
elements - such as BigDataCorrupter and ContourBoostWust, which are based on the names of effect pedals. Schiemann makes use of musical-acoustic thinking to ultimately be able to describe what happens in his paintings. This connection to music seems obvious, since he is a passionate electronic musician himself.
Jan-Ole SCHIEMANN
See original version (French)
Auto-translation. Refer to original language for legal validity.
Pictures credits: Contact the Auction House
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