Einblick in die Ausstellung »Branches«; Foto: Jürgen Baumann
Einblick in die Ausstellung »Branches«; Foto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 60 x 100 cm (Blattmaße insgesamt), Fotogramm und Künstlerhandabzug vom Fotogramm; Reprofoto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 100 x 50 cm (Blattmaße insgesamt), Künstlerkontaktabzüge von Fotogrammen; Reprofoto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 100 x 50 cm (Blattmaße insgesamt), Fotogramme; Reprofoto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 100 x 80 cm (Blattmaße insgesamt), Künstlerhandabzüge von Fotogrammen; Reprofoto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 120 x 100 cm (Blattmaße insgesamt), Künstlerhandabzüge von Fotogrammen; Reprofoto: Jürgen Baumann
Gerda Schütte, Einblick in die Ausstellung »Branches« von 2022; Foto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 130 x 100 cm (Blattmaße insgesamt), Künstlerhandabzüge von Fotogrammen; Reprofoto: Jürgen Baumann
Einblick in die Ausstellung »Branches«; Foto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 120 x 150 cm (Blattmaße insgesamt), Fotogramm; Reprofoto: Jürgen Baumann
»O.T.« (Tableau, aus der Serie »Branches«, 2022, 120 x 150 cm (Blattmaße insgesamt), Künstlerhandabzüge von Fotogrammen; Reprofoto: Jürgen Baumann
Gerda Schütte – Branches
10/15 – 11/19/2022
Gerda Schütte, who still mainly produces photograms in her darkroom, will show works from her latest production.
As we are already unsettled with the image above, it plays with perception. That it is a branch that is depicted becomes clear to everyone quite quickly, but that this is a photogram (technically accurate: an artist's hand print from a photogram) is only known if one is familiar with the work of the artist, who since the advent of digital photography has also immediately put aside the analogue camera and since then has concentrated on light drawing with object, photographic paper and a light source in her Paris studio. The object depicted here could also be a watercolour, so amazing is the soft and delicate internal drawing of the light and dark tones. How Gerda Schütte arrives at this result remains her secret. But one thing is clear: many, many photographic papers are exposed and the result discarded until she has created the image that her inner eye has in mind.
