At the projekt space:
22 March 2018, 7 p.m.
Anne-Marie Bonnet will speak a few introductory words
Exhibition 23 March – 15 May 2018
“A thing of beauty is a joy forever”
Long distance calls …
Alison Hall’s pictures are not paintings, but bodies of color that condense space and time. They are incubated, carried about in thoughts and dreams, and when finally brought to light, they are the result of long, patient decision processes and specific modalities involved in preparing the support, the application, and the sanding of the ground in ever-new beginnings and layers. Only then may the pigments be applied, these being worked up from the ground as well. Once the color has been determined, it develops a seemingly monochrome field that upon closer examination reveals slight color deviations regarding the surfaces, dots, or graphic patterns. These marks certainly do not practice or aim for a dialogue between space and surface, the usual support and surface game. They modulate a spatial depth into which viewers may immerse themselves. In the meditative repetitions of their genesis, a time of life inscribes itself into this “space”, and painterly expertise and world experience contaminate each other mutually. Unlike the term “space” in English, the German word “Raum” does not manage to convey the concept’s endless incommensurability in the sense of “outer space”. Alison Hall generates specific color “spaces” in and through her bodies of color. The intensity of the color condensations imbues her works with an unfathomable but profound presence, which is not simply a given but is activated in and through the viewer’s contemplation. Each work is unique, a particularly vivid eminence that enchants and fascinates us with its mysterious attraction. Gazing at these at once ascetic and overwhelming color presences seems akin to little epiphanies, and we catch ourselves hoping Dostoevsky was correct in his assertion that “Beauty will save the world”.
Although these color beings arise from a time-consuming dialogue between the painter and her works, they display no evident traces of having been made by hand, no obvious presence or signature in the application except for the graphic markings. Each piece is an attempt to attain perfection, a balancing act at the limits of the almost … but each failure bears the seed for the next attempt. Each new work, every new exhibition, poses a challenge for probing and shifting the artist’s own boundaries as well as conquering new color spaces. Something resonates in the colors and in the inscription processes of the nuances, of the markings: Echoes of the austere landscapes of her childhood, her fascination for Italian trecento frescoes, or respectively, her attachment to certain persons are alchemistically transformed, distant works, experiences and memories are visualized, and the poetic presence of the bodies of color dissolves space and time. All of this comes to mind from far far away: long distance calls…
Text Anne-Marie Bonnet, translation Liz Volk