Anya Triestram is well trained
in the various and often elaborate forms of graphic reproduction. In recent years, she has focused on the linocut and developed a set of printing plates, some of a rather ornamental – others of a figurative nature, which build the basis of her series „Frühauf“. Depicted are everyday commodities, figures, floral elements and various graphic structures. In the beginning, she mirrored these images along a horizontal and vertical axis. The result is a series of symmetrical prints, representing the dualistic opposition of form and meaning as well as figuration and abstraction.
Compared to many artists, Anya Triestram is not afraid of the ornament. Instead, she likes to challenge its decorativeness. Her large-scale print installation „Frühauf V“ is the continued development of her former work. The piece comprises more than 560 tiles, each a unique linocut on paper, applied on MDF and refined with a transparent layer of resin. The newly gained modular quality of the tiles allows her to arrange and rearrange them to her liking. They are detached from all compositional conventions, free to act as independent symbols within the layout. Her well-balanced designs put an emphasis on the existence of the graphic line.
They represent a elaborate mix of detail and large area, luring us into a magnificent world that knows neither time nor space.
The work of Jens Schubert
on the other hand is inspired by various sources of the collective memory. Popular meets high culture and even images of folk art. His elaborate arrangements in vibrant and vivid colors combine numerous geometric shapes to complex, partially figurative structures. He entirely denies the existence of the line as a means of pictorial composition.
The thick layers of pigment that he puts on top of one another create intricate textures that build up depth and perspective instead. His works, which bear a mystic and allusive aura, are as tangible as they are ambiguous at the same time.
Jens Schubert uses a less conventional printing technique. In fact, he refuses to use a traditional printing plate at all. Instead, his proceeding resembles in certain characteristics what we know best from painting. He uses and reuses countless smaller printing blocks and segments to build up his pictures in a long-lasting process step by step. No line, no uniform colorfield, but a remarkable mix of transparencies, gradients and opaque areas make his work a hybrid between graphic art and painting.