Exhibition of drawings by Bryan Biggs (Liverpool) and Jürgen Kisters (Cologne)
Drawing perhaps the most basic artistic expression. Grinding with your feet in the sand, scratching with fingernails in wood or the stroking with dirty-colored hands on a surface are enough to create a track. Incidentally or intentionally, both are a possibility. Draw, create tracks - which is inextricably linked. Each drawing is a track in the area, produced by a living body, which is constantly in motion and is pushing for expression. With violent or gentle gestures, awkward or skillfully resolved or hesitant, shaky or straight, and everything in flowing change. There are so many varieties of drawing as there are human expression. At least if you understand not only the drawing as mere academic ability for realistic reproduction of nature or geometric design sketch. Anything can be a drawing, which provides a piece of paper with a sign featuring a wire frame. Whether as a replica of a perception or expression of a vague intuitive feeling. Draw is the Old High German word "zeihhanen" inferred "show" something, "a miracle". Appears simple drawing that can arise with a few strokes and colored Huschern the outline of a figure or a nameless track, sometimes in fact a miracle. How come out of nowhere. A mystery that has become clear. The expression of something unspeakable. Or so it comes to living in Liverpool artist Bryan Biggs and Cologne artist Juergen Kisters again and again when they create with ink pen, pencil, charcoal, crayon, pen or brush is a drawing on a previously pristine sheet of paper.
Both understand the drawing as an open process, in which one can react in different ways to the outer and inner world. Both in inextricable interdependence, if you stay on a figurative-representational basis. And both do generally, with some exceptions in the realm abstract structural Fummel estates. In very different ways, and yet on a similar basis and draw Biggs Kisters what they touched and moved by what they remember and what they seek. Each with its own bar. One, Bryan Biggs. With the knowledge and experience of an artist trained in the study The other, Juergen Kisters, with the ease and experience of a self-taught, relying again mainly improvisation. For both the drawing is a pretty obvious thing. Assuming that drawing has long been part of her life as well as speaking and writing. On the edge of their days they can for years drawings are coming from an area of their experience, the two can not be determined exactly. Again and again it is about the body or face to. The more or less clear outlines of people and objects in states of motion and rest And again it comes to restless twitching and longing for appeasement. The Liverpool Biggs treated drawing especially the area that penetrate into the the individual and the society, the social context and the personal expression of a man today. The Cologne Kisters theme in his drawings, especially the vague recollection of the schemes, the transience of life and the equally fundamental movements such as loading personal interpretation of body perspectives, particularly the strength and vulnerability, the desire and the fear of the human body. In short, the drawings of both touch the infinite circulation of human desire and the confidence that our life is in constant motion and change.
Biggs and Kisters stress that they themselves are always surprised at what will draw on paper visible. They are surprised that everything was in them. Each drawing is for a discovery. In particular, they are amazed that each drawing is new and a step into the unknown again, but during the process of her drawing is a constant repetition. Both pursue any particular approach, but rather determine curiosity and abandon the procedure. Biggs, trained artists, is happy that he with the years an increasing ease and Rotzigkeit succeeded in the representation of the figure, based on the desire for freedom of the German Expressionism of the 1920s and the 1970s British punk. In the spirit of rebellious revolt of Beat, underground and counterculture, by Biggs in his youth received his formative impulses. Kisters is delighted when he succeeds, the difference between pictorial and drawing awkwardness desire to bring an intuitive security to disappear. The spirit of simplicity as a measure. And conviction, not to make too much fuss about a single drawing. This follows the idea that it is less about the individual drawings than to drawing as process goes, the ongoing series of drawings, and the transitions from one drawing to another.
In transition, art is, is the secret, the conviction. It is in this coming together of the artistic approaches and Biggs Kisters. You draw like crazy, without accurately determine what drives them, what they are looking for and want to show, and while it drives them. Biggs draws fundamentally on the paper of character blocks in the DIN-5 format, and he numbered his drawings continuously. Meanwhile, he has arrived at a figure of about about the 1300th Kisters distinguished preference to ordinary writing paper sheets in DIN-A-4 format, and almost always in portrait mode. His conviction that one should not be taken to hesitate when drawing because as the paper is too expensive or too precious. Biggs and Kisters are safe, if you do not hesitate when you draw, you can not fail also. For in-decided intuitive drawing itself, the failure is still a kind of success. On the other hand, in each drawing, whether developed or kritzlig-spontaneous, always a failure. As always there is a remainder, which inevitably leads to the next drawing.
Space Gallery
Gottesweg 116a 50939Köln, Tel: 0221-823 12 40
27th September to 23 October 2012
Opening: 27.9, 19 clock.
Open: Tue-Thu 11:00 to 13:00, 16:00-18:00 clock, Sat 12:00-14 clock