Smoke Signals / Rauchzeichen
Galerie Sturm – Nürnberg, DE
Solo Exhibition / March 10 – April 17, 2016
Like clouds passing through an empty sky or the flickering images on a white cinema screen, Micha Patiniott’s “Smoke Signals” deal with the fleeting, ever-changing nature of form, versus the eternal stillness of the empty canvas. According to Patiniott, any meaning found through form is elusive and transitory. This ultimately points to its origin and end: the absence or transcendence of meaning itself. The human mind, whose function is to fix meanings to objects, may regard this as absurd or slightly terrifying – but can also feel attracted to it, as to a freeing space of open-endedness. The paintings in ‘Smoke Signals’ concentrate on these in-between moments.
Rauchzeichen / Smoke Signals, Nürnberg , 2016
The apparent subject is often the sensory aspect of (the) painting(s). Human figures and anthropomorphised objects can be seen to investigate their surroundings and each other, by means of touch and sight. The figurative happily swirls towards abstraction and vice-versa. Patiniott shows how formal elements – material, composition, shadow, light, shape, and format – induce relationships that either prove or debunk an image’s representational and illusionary meaning. Also on a narrative level, the content of the images vibrates between different possibilities, often opposing ones. Laced with humour, playfulness and sometimes barely concealed violence, the works declare ‘all that is, can always be different.’
’Visual motifs recur, sometimes in the same context or even as a duplicate – for example in the work “Incredulity” (2013), where a digital drawing functions as a slightly altered double, next to a painting of the same scene, executed in oil on canvas. The repetition of motives that spans the body of work include the empty background, the lamp, the eye, the hand, and the ink-loaded brush or pen. A predominant motive is that of the canvas / picture-frame. Many paintings behave like nested dolls: their content seems self-aware of being a painting, and thus depicts itself within itself. This happens both formally, by playing with grids and frames-within-frames as a structuring device, and narratively, by depicting human-like canvasses that are engrossed in cartoonesque scenes.
Rauchzeichen / Smoke Signals
March 10 – April 17, 2016