Untitled. 2015. Acrylic on canvas. Verso signed, dated, inscribed and numbered "2015/ 1021 L". 201 x 135 cm (79.1 x 53.1 in).
• Dynamic and spatial color mesh with stacked dimensions. • Colo as a phenomenon of pure visuality. • Katharina Grosse is represented by Gagosian Gallery and the renowned König Galerie. • Katharina Grosse's art is currently honored in a spectacular solo show at Hamburger Bahnhof, Berlin (June 14, 2020 - January 10, 2021).
PROVENANCE: Galerie nächst St. Stephan, Vienna. Private collection Hong Kong. Private collection France.
"I use pray painting because it is a form of painting that happens in space and lands on a surface. I do not apply it to the surface physically, I just give it direction and dynamics [..]." Katharina Grosse, quote from: Ulrich Loock, Annika Reich, Katharina Grosse (editor), Katharina Grosse, Cologne 2013, pp.160-61.
Katharina Grosse, one of the most prominent painters in international contemporary art, was born in Freiburg im Breisgau in 1961. She completed her studies at the Art Academy in Münster between 1982 and 1986, among others, she was a student of Norbert Tadeusz and Johannes Brus. In 1986 Katharina Grosse transferred to the to the class of Gotthard Graubner at the academy in Düsseldorf, and was also accepted as student of his master class. In 1990 she completed her studies. The artistic beginnings of Katharina Grosse's painting lie in the Neo-Expressionism of the "Junge Wilde” (Young Wild Artists). However, as early as in the mid-1980s, Katharina Grosse gradually abandoned figuration. In the first half of the 1990s, after pictures executed with powerful dabs of pigment, she attained color compositions with broad glazing brushstrokes applied along the image axes. In 1998 Katharina Grosse also discovered the spray gun for her art, which she now also uses in more architectural ways. Since she found an artistic form of expression with the spray gun, which allows the paint to work independently and unaffected by the artist's hand, Katharina Grosse almost entirely abandoned the brush. Instead, she put focus on the industrial spray gun in her paintings, which she handles with amazing skill and ingenuity on surfaces that range from canvases to walls, floors, sculptures and giant outdoor murals. She separates the application of paint from the painterly craft, the paint is to act itself. Grosse works intuitively, follows the direction the painting takes step by step. She gets carried away on her journey of the discovery of colors. She detaches painting from the primacy of things, depicts nothing, does not reference real things, painting exclusively consists of itself. The resulting impression of an almost disembodied painting stands in fascinating contrast to the impressive dimensions of her works of art. If the color compositions are to appear as if no person has never touched them, the large-format canvases have to be lifted, folded, and tilted in order to achieve the fascinating color structures. Since the turn of the millennium, Grosse has been working with parallel lines, which, like the color spots and traces of color, soon also cover objects. The work offered here can also be classified as part of this development; it shows strong associations with her spatial installations and, owing to its color and composition, is reminiscent of vegetative forms. In her works, Katharina Grosse takes the viewer on a journey in which the color takes possession of him, it becomes a phenomenon of pure visuality. [SM].