Grimm Gallery was on my Opening list from the very first 9 Galleries Tour. I was so impressed with their positive and proactive engagement with us that I decided that any time they opened their doors with new work to present, I would be there.Sebastiaan from Grimm had shown me a book of Weischer’s work on our first tour and as I looked into his background online, the bulk of what I could find were his rooms/environment; these mood provoking slightly surreal examinations of space. I couldn’t wait to see them, so on April 23rd, Husband Dave, a few friends and I saundered over to the opening of his exhibition… okay, boy was I shocked. The work showing so NOT what I expected. I know this is a little late for a review, but I realized his show comes down on May 10th - so go if you can… like today… if you can’t go, check it out here.
Here’s what I expected to see more of:
And here’s what showed up:
And here’s a close up of one of his abstracts:
Yeah, you see similar styles and materials, but compositionally the work is completely different. It’s shocking. So what happened? What mood struck that pushed Weischer out of his rooms? Who knows, but even though I wanted more of his older work, the transitions are exciting to consider as an artist.
Just a smidge about him, Weischer got his MA in 2003 in from Hochschule für Grafik und Buchkunst (HGB) in Leipzig, where he stuided under Sighard Gille. As he emerged in 2003, Weischer’s style was precise and focused on spacial environments - you can often see the grid he uses to graph out the perspective. His technique and treatment of light is exacting and precise. It’s a feast for the eye, just check out his google images and you’ll see what I mean.
When is it time to move to a new direction for an artist? Does it happen gradually, is this body of work just what Weischer happened to create for the show, aptly named “Thicket” or is it an intentional choice? Weischer is skilled at abstraction, yes, and he still understands perspective and light regardless of his medium - though I have a bit of trouble with his pulp process for the piece below - I found the raised pattern in the pulp very distracting:
I may have gotten this all wrong, but when I look at Weischer’s work I see an artist that is doing something new but with the same strengths and skills of previous work but with a completely new intention - an escape to a new direction of work. I enjoyed shaking his hand and congratulating him on the transitions, I am sure he had no idea what I was talking about, but for me, I see a leap of faith in this utter abstraction. It’s prolific and exciting…. though I feel like I have missed out on seeing some of the best of his rooms like this one:
In forty years from now I am sure that Matthias Weischer will have traveled through many stages and many motivations, inspired by a host of experiences outside of his studio. As I explore the artists who are willing to invite me into their creativity, I am discovering that I want to understand their motivations, their desire to create - and that their stories are seldom evident in plain English when regarding their work, which is such a shame since their humanization is what makes work great, not just their skill, but how they, as a person, translate the world creatively.