16. March - 04 April. 2022.
Mehringdamm 61 Galerie, Berlin.
Series A and Z edition 100/100
"Unmögliche Objekte," a solo exhibition of new paintings and drawings by Fredy Solan, will be on view at Galerie Mehringdamm 61 in Berlin from March 19 until April 4, 2022.
Since the 2010s, Solan has been interrogating painting's methods and means, raising awareness of the medium, which he aims to remake and remodel, questioning the dynamics of interactions with space and concept, always in contradiction to traditional hierarchies.
The paintings on display are works on canvas and paper, and they are arranged by two separate compositions, A and Z. As the title suggests, 'Impossible objects' predominates the idea of liberating representation from content or meaning and focusing on the painting itself, evoking the color schemes and space concerns of Suprematism.
predominate the idea of liberating representation from content or meaning and choosing to focus on the painting itself, which means that on the two extremes, abstraction and representation don't have to be two independent possibilities; they can be seen simultaneously without being disturbed by the narrative. trying to invoke pictorial dynamism such as Wassily Kandinsky or artists painting at the time.
From heavy dripping, spraying, and smearing to delicate rag-blur or sfumato washes, the artist's unbridled approach to painting is evident. The works contrast areas of painterly intricacy with expressive sabotage, revealing an inimitable range of paint handling techniques like free hand emoulating handwriting.
The line appears flowing and controlled, freehand and stencilled, throughout the exhibition, demonstrating the line's continuous importance in Solan's work. In this approach, the new works remix classic art objects like still life, landscape, and portrait while also pushing surface, color, and line in new directions, along unnamed roads for unrevealed motives.
Painting is portrayed as a heterogeneous and anxious space in which the possibilities and worth of self-expression, artistic validity, and even the act of painting itself are constantly re-evaluated.