The artworks of José Heerkens revolve around the essence of color. With precision, she arranges perfectly coordinated hues along lines and in grids on her canvases. Often, Heerkens leaves a portion of the linen blank, allowing the painting to remain “open enough to enter,” as she puts it. One can almost step into the painting by “walking” with their eyes over the canvas, following the shifting color blocks, the rhythm of lines, the denseness of the paint layer, and the interruptions in the brushstrokes.
The works produced by Barbara and Michael Leisgen during the 1970s represented a contrast to the prevailing style of conceptual photography, which was predominantly dominated by the typological school of Bernd and Hilla Becher in Düsseldorf. The various works showcased below are part of the Mimesis series, which has been in practice since the early 1960s. These works involve the documentation of natural imprints, exploration of the human body, and experiments related to Land Art.
One of Barbara Leisgen’s distinctive techniques involves imprinting her silhouette onto the landscape, leaving a fleeting trace. This is achieved by extending her arms to follow the contours of undulating countryside in works such as the Paysage mimétique and Mimesis series. Another technique involves incorporating the sun into an arc drawn by her arm while she is positioned centrally in the image, as seen from behind. This approach goes beyond mere imitation of nature through physical gestures; it also encompasses the act of tracing and channeling nature. The (re)appropriation of the landscape is a subjective experience, with Barbara Leisgen’s silhouette displayed within the landscape, leaving an ephemeral mark.
These photographs evoke the imagery of German Romanticism, specifically the paintings of Caspar David Friedrich. Friedrich’s painting Morgenlicht, in particular, serves as a figurative inspiration for the Leisgens’ Mime-sis works. However, their approach also deviates from Friedrich’s perspective of nature as sacred. One could argue that their viewpoint is influenced by an anthropocentric romantic outlook, similar to the French Romantic tradition. Nevertheless, despite the sublime nature of the photographed scenes and the meticulousness of the prints, which hint at the possibility of a wide spectrum of colors in the luminous light, the images also evoke a sense of naivety and inherent nostalgia found in souvenir photographs. The viewers are placed in a reflective position, observing a woman posing within a natural expanse. Through this approach, Barbara and Michael Leisgen can be seen as pioneers of contemporary landscape photography, bridging modernist and postmodernist perspectives.
www.ftn-books.com recently acquired the scarce ” LA TENTATIVE DE SAUTER PAR DESSUSL’HORIZON from 1975
At the time Osz had his exhibition at the Gemeentemuseum, we met and i told him i was very much impressed with his photographs. Large scaled sea views and architectural photos, unsharp and blown up to gigantic proportions they make you almost feel little. If i must compare his art i almost would say that his photography has a MINIMAL art concept and is mostly related to others from the Minimal art scene. His photo subjects are almost non existent and you really have to study them to see what is meant by them. Study them closely and you see that it is a sea with a horizon and of course the title helps ( THE LIQUID HORIZON no. 13 ) but just glance at it shortly and you are in doubt what the subject is.
Because of the unsharpness the photo feels abstract. It is hard to describe what the quality of his photography is. I think it is best to experience them. Stand in front of one of them and feel the strength of the composition. These photo’s are not the easiest ones on this planet, but certainly they are fascinating. www.ftn-books.com has a very nice signed and dated publication by Gábor Ősz available. This comes from avery small edition of only 400 copies and Gábor Ősz presented me with 2 of these copies of which one is now for sale.
Artist/ Author: Oliver Boberg
Title : Memorial
Publisher: Oliver Boberg
Measurements: Frame measures 51 x 42 cm. original C print is 35 x 25 cm.
Condition: mint
signed by Oliver Boberg in pen and numbered 14/20 from an edition of 20