One glance at the recent works
of Leipzig based artist Stefan Stößel is enough to help one recognize something mysteriously familiar. It is not so much the images of transport-pallets or drawings of various vegetables arranged to still-lifes that make us ponder. A closer look reveals quickly: It is the technique – no painting, but the principle of stamping and potato prints that reminds us of our childhood.
Traditionally utilized to indicate ownership claims or to reproduce writings and designs, Stößel appreciates the stamp not only for it’s formal strictness. Schematic representation meets the literally natural imprint of commodity items. Standardized principles of repetition in combination with biological shapes generate a concrete and constructive – partially amorphous art between realism and abstraction. Restrained by a sense of ascetic reduction in shape and content, his wholehearted game brings forth poetic papers charged with a quiet cheeriness. Comparable to a printing plate, the stamps that make up the foundation of his work are the utensil to transform the graphic print into a unique copy.