THOMAS ZIPP
Roman Mensing
Doris Marten
Berlin, Germany
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Roman Mensing
Berlin, Germany
Doris Marten explores the phenomenon of colour effect in series of pictures, creating a reference system through sequences, repetitions and variations which alert the viewer to the intensive colour effect and offers space for individual experiences of perception. The selection of certain colours and their shading in different nuances creates an intense visual aura that can be perceived as vibrations by the viewer.
The line as a...
Doris Marten explores the phenomenon of colour effect in series of pictures, creating a reference system through sequences, repetitions and variations which alert the viewer to the intensive colour effect and offers space for individual experiences of perception. The selection of certain colours and their shading in different nuances creates an intense visual aura that can be perceived as vibrations by the viewer.
The line as a structuring element plays a decisive role here. It gives direction and rhythm to the colour‘s dynamic power and provides support and orientation for the eye. The complete composition develops successively, each line works as a snapshot with reciprocal references to what already exists.
The interaction of individual colour nuances as well as the rhythmically structuring repetition and variation of the individual elements create an intensity of observation that goes far beyond the visually perceptible. The vibrations in the painting echo in the observer‘s body and capture his entire being.
Around the World, 2020, Installation at Westlotto, Münster, Oil on Vinyl, 252 pieces, each Ø30cm, Foto: Roman Mensing
What is it about your studio space that inspires you?
My studio is my think tank. It's a place where my intelligence is having fun.
What is your favourite material to work with? How has your use of it evolved throughout your practice?
The material that best expresses my artistic intention is my favourite material.
What themes do you pursue?
Time, repetition, recollection, individuality, digital aethetics, perceptual phenomena.
What advice has had the biggest impact on your career?
It was less a piece of advice than the moment when I realized that the best artworks are created when you don’t care about others at all. Then the results are unfiltered, honest and immediate.
If you could install your art absolutely anywhere, where would that be?
In the consciousness of mankind.
If you could only have one piece of art in your life, what would it be?
The Polish Pavilion of the 46th Venice Biennale 1995 with Roman Opalka‘s works.
If you weren´t an artist, what would you be doing?
A biologist.
What are your favourite places besides your studio?
In the mountains or on a river in a kajak.
2020
Every Choice a Change, Westlotto, Münster, Germany
Between the Colours, Galerie Ostendorff, Münster, Germany
2017
Linear Spheres, Kunsthalle Messmer, Galerie m, Riegel am Kaiserstuhl, Germany
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2021
Orbit, Poimena Gallery, Launceston, Tasmania, Australia
Discursive Geometry (Sounds and Words), XS Gallery, Kielce, Poland
2020
Made in Berlin, Galerie Ostendorff, Münster, Germany
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Sammlung Westlotto, Münster, Germany
Sammlung der Zentral- und Landesbibliothek, Berlin, Germany
Sammlung des Deutschen Bundestages, Berlin, Germany
Galerie Ostendorff, Münster | https://www.ostendorff.de
Artistics | https://www.artistics.com
Busche Kunst | https://busche-kunst.com
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2008 Goldrausch Künstlerinnenprojekt art IT
2002 Scholarship of German Akademic Exchange Service (DAAD)
2000 Prize for debutants of the Free State of Bavaria
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1992-98, Akademie dbK, Nuremberg
1996 UdK, Berlin
