![\"Ulrich_Wedel\"](\"https:\/\/www.ulrichwedel.com\/wp-content\/uploads\/2023\/01\/Ulrich_Wedel-7-scaled.jpg\" "\\"Ulrich_Wedel\\"")
\nIn my pain\u00adtings, coin\u00adci\u00addence acts within the limits I have set and takes over a com\u00adpo\u00adsi\u00adtio\u00adnal work until, at a cer\u00adtain point, I deci\u00adde to fix it. Coin\u00adci\u00adden\u00adtal moments are sub\u00adject to chan\u00adges I help to shape. Thus, the unfo\u00adre\u00adseeable and unpre\u00addic\u00adta\u00adble beco\u00admes a co-crea\u00adtor in the artis\u00adtic process.<\/p>\n
Coin\u00adci\u00addence crea\u00adtes the grea\u00adtest pos\u00adsi\u00adble authen\u00adti\u00adci\u00adty, and I just need to incor\u00adpo\u00adra\u00adte it into my art. Thus, coin\u00adci\u00addence is a con\u00adscious choice in my pain\u00adtings, a choice that opens the door to a uni\u00adque experience.<\/p>\n
To achie\u00adve this, I deve\u00adlo\u00adped my very own tech\u00adni\u00adque by pro\u00adces\u00adsing acrylic pig\u00adments in a par\u00adti\u00adcu\u00adlar way after app\u00adly\u00ading them on paper or canvas.<\/p>\n
Ulrich Wedel, born 1955, was always enthu\u00adsi\u00ada\u00adstic about art, but deci\u00added to stu\u00addy and prac\u00adti\u00adce archi\u00adtec\u00adtu\u00adre ins\u00adtead. None\u00adthel\u00adess, his pas\u00adsi\u00adon for art remain\u00aded con\u00adstant over the years.<\/p>\n
He expe\u00adri\u00admen\u00adted with a varie\u00adty of tech\u00adni\u00adques in his quest to fin\u00adding his artis\u00adtic voice, and this ulti\u00adm\u00adate\u00adly led him to deve\u00adlo\u00adping his very own pain\u00adting style. In 2012 he moved from a figu\u00adra\u00adti\u00adve to a more and more abs\u00adtract form of expres\u00adsi\u00adon. He has exhi\u00adbi\u00adted in solo and group exhi\u00adbi\u00adti\u00adons in Ger\u00adma\u00adny and abroad.<\/p>\n\t\t\t\t\n
Against the Grain<\/p>\n
Except for the busy deca\u00addes in his care\u00ader as an archi\u00adtec\u00adtu\u00adral engi\u00adneer, Ulrich Wedel has pain\u00adted enthu\u00adsi\u00ada\u00adsti\u00adcal\u00adly and pro\u00adli\u00adfi\u00adcal\u00adly sin\u00adce his youth. He retur\u00adned to pain\u00adting later in life.<\/p>\n
Very cheerful by natu\u00adre, he pon\u00adde\u00adred in his fif\u00adties life\u2019s ques\u00adti\u00adons for hims\u00adelf. He read a gre\u00adat deal of phi\u00adlo\u00adso\u00adphy, which play\u00aded an incre\u00adasing\u00adly grea\u00adter role in his con\u00adver\u00adsa\u00adti\u00adon with art. Pain\u00adting beca\u00adme again his con\u00adstant com\u00adpa\u00adn\u00adion. Each of his crea\u00adti\u00adons is a sort of visu\u00adal sym\u00adbol of new truths, other sphe\u00adres of expe\u00adri\u00adence, other jour\u00adneys and exis\u00adten\u00adti\u00adal ques\u00adti\u00adons. Pain\u00adting beca\u00adme his colorful phi\u00adlo\u00adso\u00adphy, one that depar\u00adted from all nar\u00adra\u00adti\u00adve forms, and that era\u00adsed pre\u00addi\u00adca\u00adti\u00adve and indi\u00adca\u00adti\u00adve ico\u00adno\u00adgra\u00adphic bonds. In them\u00adsel\u00adves, his pain\u00adtings are free. <\/p>\n
At first glan\u00adce, con\u00ads\u00adtruc\u00adti\u00adve ele\u00adments pro\u00advi\u00adde the images with order, an order that dis\u00adsol\u00adves its\u00adelf through the color struc\u00adtures that spread across the enti\u00adre can\u00advas like an invi\u00adsi\u00adble web. The struc\u00adtu\u00adral ali\u00adgnments sug\u00adgest a com\u00adpo\u00adsi\u00adti\u00adon while avo\u00adi\u00adding a Pol\u00adlo\u00adckes\u00adque \u201call over.\u201d The pain\u00adtings have an ori\u00aden\u00adta\u00adti\u00adon, yet it is impos\u00adsi\u00adble to make a direct and irre\u00adfu\u00adta\u00adble state\u00adment about them. <\/p>\n
At each vie\u00adw\u00ading, the pain\u00adtings speak in a new way. In spi\u00adte of let\u00adter-like forms, nowhe\u00adre is the\u00adre rea\u00adda\u00adbili\u00adty. The small shapes that seem to repeat them\u00adsel\u00adves as in wri\u00adting are never con\u00adgru\u00adent, but rather always mark\u00aded by indi\u00advi\u00addua\u00adli\u00adty. In the arran\u00adge\u00adment of mul\u00adti\u00adple sym\u00adbols, the\u00adre is a ple\u00adtho\u00adra of legi\u00adbi\u00adli\u00adty that view\u00aders must make their own. They beco\u00adme col\u00adla\u00adbo\u00adra\u00adtors in the spi\u00adrit of Umber\u00adto Eco\u2019s ope\u00adra aper\u00adta<\/i>. The pain\u00adtings invi\u00adte us to take part in a leng\u00adthy dia\u00adlo\u00adgue that beg\u00adins when we try to ascer\u00adtain mea\u00adning, which, howe\u00adver, the pain\u00adting denies us. We can read things into them and reco\u00adgni\u00adze shapes of figu\u00adres that then rapidly dissolve.<\/p>\n
The pro\u00adcess of pain\u00adting in various tech\u00adni\u00adques allows the pain\u00adtings to chan\u00adge non fini\u00adto<\/i>, to refres\u00adhing incom\u00adple\u00adten\u00adess due to the fact that the pain\u00adter works with more paint than the view\u00ader can see in the finis\u00adhed image. The thick appli\u00adca\u00adti\u00adon of paint is fol\u00adlo\u00adwed by a reduc\u00adtion of the color mass and the brea\u00adking up of sur\u00adfaces to reve\u00adal a lar\u00adge, whir\u00adling wealth of colors simi\u00adlar to a kalei\u00addo\u00adscope. The pain\u00adtings do not stand proud\u00adly by them\u00adsel\u00adves. They repea\u00adted\u00adly self-crea\u00adte them\u00adsel\u00adves, demons\u00adt\u00adra\u00adting that the pro\u00adcess of beco\u00adming is never actual\u00adly com\u00adple\u00adte, that even a pain\u00adting is always sear\u00adching and inven\u00adting its\u00adelf. This cha\u00adrac\u00adte\u00adristic ensu\u00adres every image on paper or on can\u00advas fresh\u00adness, dia\u00adlo\u00adgue, trans\u00adpa\u00adren\u00adcy as well as depar\u00adtu\u00adre from the didac\u00adtic wag\u00adging fin\u00adger that so stron\u00adgly domi\u00adna\u00adtes today\u2019s inter\u00adna\u00adtio\u00adnal art sce\u00adne. Wedel eva\u00addes that, and his art rests more on the older, post-war abs\u00adtract gene\u00adra\u00adti\u00adon of artists with whom he grew up.<\/p>\n
Sin\u00adce he sees pain\u00adting as an enhance\u00adment of life\u2019s expe\u00adri\u00aden\u00adces, he needs no theo\u00adries, no pri\u00ador desi\u00adgna\u00adti\u00adons neither to crea\u00adte a work of art nor to explain it. Like so many other pain\u00adters who were trai\u00adned in ano\u00adther pro\u00adfes\u00adsi\u00adon, Wedel has not suf\u00adfe\u00adr\u00aded from aca\u00adde\u00admic influence (simi\u00adlar, for exam\u00adp\u00adle, to the Br\u00fc\u00adcke pain\u00adters in Dres\u00adden who stu\u00addi\u00aded archi\u00adtec\u00adtu\u00adre, but not pain\u00adting). Each pain\u00adting is its own cos\u00admos, each pain\u00adting is dif\u00adfe\u00adren\u00adtia\u00adted by a title, which, howe\u00adver, is not added until the pain\u00adting is finis\u00adhed. It is just as effec\u00adti\u00adve for iden\u00adti\u00adfi\u00adca\u00adti\u00adon as it is as a point of access for the view\u00ader. But it never says any\u00adthing about the con\u00adtent, as Wedel is not illus\u00adt\u00adra\u00adting any visu\u00adal ide\u00adas. He crea\u00adtes them in the pro\u00adcess of pain\u00adting. The final form is often dic\u00adta\u00adted by chan\u00adce, just like life itself.<\/p>\n\n","protected":false},"excerpt":{"rendered":"
Modern Abs\u00adtract Sen\u00adsi\u00adti\u00adve In my pain\u00adtings, coin\u00adci\u00addence acts within the limits I have set and takes over a com\u00adpo\u00adsi\u00adtio\u00adnal work until, at a cer\u00adtain point, I deci\u00adde to fix it. Coin\u00adci\u00adden\u00adtal moments are sub\u00adject to chan\u00adges I help to shape. Thus, the unfo\u00adre\u00adseeable and unpre\u00addic\u00adta\u00adble beco\u00admes a co-cre\u00ada\u00ad\u00ad\u00adtor in the artis\u00adtic pro\u00adcess. Coin\u00adci\u00addence crea\u00adtes the\u2026<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"class_list":["post-83","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=\/wp\/v2\/pages\/83","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=83"}],"version-history":[{"count":20,"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=\/wp\/v2\/pages\/83\/revisions"}],"predecessor-version":[{"id":503,"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=\/wp\/v2\/pages\/83\/revisions\/503"}],"wp:attachment":[{"href":"https:\/\/www.ulrichwedel.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=83"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}