I mixed paint and collages coming from one saved WhatsApp chat. I found that discussion by accident and the dialogues were abstract enough to attribute different roles to each one of the main protagonists. A personal interpretation turned into a fiction with different levels.
I painted the missing images of that fiction, on glass, allowing new accidents to happen in the program. I pasted some of the chat’s “real lines” and mixed them up in collages.
From there, I declined Miss Müller’s identity(s): He, she, her, him, it or myself. Who is Miss Müller? I told 12 times the same old story refreshing 12 different points of view. identity loss and regeneration.
The hole work is one letter dedicated to Miss Müller…
More about that glass
After the institution kindly recognised my ability to be an artist I got some new windows from the refurbishment of the Old Pinakothek museum of Munich. (Glass panes supposed to replace the formal ones but on the top roof.) Their size and structure was different from the formal ones.
A different glass texture for a different use…
I choosed to concentrate on the inside world of the atelier and used the only tools remaining there: those new top roof panes, my hands, my brain and the prolongation of it: some brushes having waited for years to meet the oil painting tubes from my closet.
After having installed, broken, sculpted and transformed the old glass panes from the Pinakothek,I finally painted on them. I used collages and laminated some broken glass, transforming them in kind of “combine (glass) paintings”
I discovered the painting process thanks to the glass material watching through the reverse side of the “canvas”. There I think I finally stoped fearing my hand and it’s gesture.
Window’s glass and light reacting together with painting… The reverse side (process side supposed to remain hidden in a painting) was saying a lot more than the « acting side » (the side of the intention and result) So I decided to show the paintings on the reverse side revealing the process through the filter of an industrial texture and I framed them.
The glass I am using is made to spread the light in the exhibition room. Our eyes are made to focus on something. Here they are prevented to do so. The filter is stronger. No digital painting but referring to it. No “arty” printing mechanism faking the distorted random of reality made by the human representation. In return, the artist can fake the “arty machines and techniques” in his work. Sigmar Polke did it when painting fake silkscreen’s dots. I am also referring to the serigraphy process using the dots of the glass texture at the difference that the industrial support I am creating on was made to display art and preventing to watch through. As a result: taken in pictures we don’t know anymore. Watched in live, we need a short time to understand that real paint is behind the glass.