at the Baukunst Gallerie, Cologne
27 January to 8 April 2011
From the 27th January untill the 8th April 2011 the Baukunst Galerie will show the first great solo- exhibition of works by the British artist Brad Lochore in Germany. The opening will be on the 26th January 2011, from 6 p.m. to 8 p.m. The introductory speech will be held by Prof. Dr. Guido Reuter, Professor of History of Art at the Kunstakademie Düsseldorf. The exhibition will include a representative selection of Shadow, Grid and Rough Paintings as well as inkjet prints. A review of the last five years and a focus on the latest series of his Roughs will be presented.Brad Lochore was born in Wellington, New Zealand, in 196. He moved to England when he was 17 years old. From 1985 to 1989 he studied at the Byam Shaw School of Art in London. Shortly after his graduation he met Gerhard Richter who invited him to study in his class at the Kunstakademie Düsseldorf. In 1990 Brad Lochore returned to London where he achieved his Master in Fine Arts at Goldsmith College in 1992. Since his participation in the exhibition of Young British Artists IV at the Saatchi Gallery in 1995, he has exhibited in England as well as in the US, in Japan, in New Zeeland and in other European countries.
Brad Lochore works with light and shade, illusions, chimera and references to the space. He is not only inspired by the modern film technology but also by the painting of old masters. Lochore is interested in the problems of epistemology of represented and perceived reality. His paintings lead to a systematic uncertainty of the perceiving subject: What do I see? Do I see what I see? Do I see what is shown? Is what I see, identical with what is shown? Lochore ́s paintings of the Shadow series seem to be shadows but they only portray shadows of objects which where constructed in his studio. The beholder perceives a shadow of something but what is seen is only a painted shade. Through the interplay of object and light a shadow emerges which is immaterial. What Lochore shows us is not a real shadow, but a creation of a shadow through a projection on a screen. So the projection becomes an object.
Lochore ́s large-sized Grid Paintings broach the issue of the shadow but they represent extracts of windows or grids. These windows and grids have been photographed, computer-manipulated and reprojected onto the canvas. In the gallery these paintings reference a new kind of space. The beholder is immersed in a cinematic situation. Brad Lochore designed and created film sets for five years. That is why he knows the technique of illusion and fiction, of creating realities and reflects the relationship of fiction and reality in his works. We invevitably may think of Plato ́s Cave Allegory. The prisoners in the cave take the shadow for real. Lochore does not give solutions but he gives us the opportunity to experience problems, problems of illusion, of delusion and of misapprehension.
His Rough Paintings displayshiny and reflecting surfaces which seem to be soft foil, stressed or pulled over a canvas. In contrast to the Shadows which show a smooth and even surface like a photograph, the Rough Paintings show distinct brush-marks. But the point is that this is not obvious from distance. They indicate a vanitas in the form of a chimera. Lochore ́s paintings are like film-sets which simulate reality. Lochore evokes Maurice Merleau-Ponty ́s Phenomenology, which was fundamental for the Minimal Art movement, to a two dimensional base. It is difficult to perceive the painting as a painted object because it implies movement and hapticity. Form and content, object and image, truth and reality, existence and appearance cover presence and absence of what is represented. It simulates a reality which only can be perceived by the beholder. In this respect Lochore is also obligated to Theodor W. Adorno who comments:
“Schein sind die Kunstwerke dadurch, dass sie dem, was sie selbst nicht sind, sein können, zu einer Art von zweitem, modifizierten Dasein verhelfen; Erscheinung, weil jenes Nichtseiende an ihnen, um dessentwillen sie existieren, vermöge der ästhetischen Realisierung zu einem wie immer auch gebrochenen Dasein gelangt.” (Adorno, Ästhetische Theorie)