8.05—16.06.18
Nadja Nafe
Für den Moment

8.05—16.06.18
Nadja Nafe
Für den Moment

8.05—16.06.18
Nadja Nafe
Für den Moment

8.05—16.06.18
Nadja Nafe
Für den Moment

8.05—16.06.18
Nadja Nafe
Für den Moment

Nadja Nafe is an artist in constant search of the possibilities and limitations of painting, always departing from the line and the painted surface. The processual nature of her works and the traceable conditions of image formation can be experienced in a tense relationship between composition and dissolution, construction and deconstruction.

Nafe's works invite the observer to look through painterly superimpositions, through delicate glazes, veils and layers of colour. If you are willing to look behind the superficially visible and engage with these pictorial depths, then you will see living gaps, cuts, factual and fictitious glances open up. Contrasting colour combinations, dynamic movements and organic forms serve as abstract references to objects, living beings or nature itself. This layering and uncovering "creates two opposing perceptions: at the same time, colours and forms are both emphasized and subdued. How these function is ultimately not only context-dependant in the picture, but also influenced by social and cultural aspects, as well as by personal experiences and considerations," Nafe explains. In a constant interplay of moving and static picture elements, she creates an experiential space of two-dimensional surface and suggested spatiality, visual and haptic representation, surface and penetrated corporeality

Nadja Nafe is an artist in constant search of the possibilities and limitations of painting, always departing from the line and the painted surface. The processual nature of her works and the traceable conditions of image formation can be experienced in a tense relationship between composition and dissolution, construction and deconstruction.

Nafe's works invite the observer to look through painterly superimpositions, through delicate glazes, veils and layers of colour. If you are willing to look behind the superficially visible and engage with these pictorial depths, then you will see living gaps, cuts, factual and fictitious glances open up. Contrasting colour combinations, dynamic movements and organic forms serve as abstract references to objects, living beings or nature itself. This layering and uncovering "creates two opposing perceptions: at the same time, colours and forms are both emphasized and subdued. How these function is ultimately not only context-dependant in the picture, but also influenced by social and cultural aspects, as well as by personal experiences and considerations," Nafe explains. In a constant interplay of moving and static picture elements, she creates an experiential space of two-dimensional surface and suggested spatiality, visual and haptic representation, surface and penetrated corporeality

Nadja Nafe is an artist in constant search of the possibilities and limitations of painting, always departing from the line and the painted surface. The processual nature of her works and the traceable conditions of image formation can be experienced in a tense relationship between composition and dissolution, construction and deconstruction.

Nafe's works invite the observer to look through painterly superimpositions, through delicate glazes, veils and layers of colour. If you are willing to look behind the superficially visible and engage with these pictorial depths, then you will see living gaps, cuts, factual and fictitious glances open up. Contrasting colour combinations, dynamic movements and organic forms serve as abstract references to objects, living beings or nature itself. This layering and uncovering "creates two opposing perceptions: at the same time, colours and forms are both emphasized and subdued. How these function is ultimately not only context-dependant in the picture, but also influenced by social and cultural aspects, as well as by personal experiences and considerations," Nafe explains. In a constant interplay of moving and static picture elements, she creates an experiential space of two-dimensional surface and suggested spatiality, visual and haptic representation, surface and penetrated corporeality

Nadja Nafe is an artist in constant search of the possibilities and limitations of painting, always departing from the line and the painted surface. The processual nature of her works and the traceable conditions of image formation can be experienced in a tense relationship between composition and dissolution, construction and deconstruction.

Nafe's works invite the observer to look through painterly superimpositions, through delicate glazes, veils and layers of colour. If you are willing to look behind the superficially visible and engage with these pictorial depths, then you will see living gaps, cuts, factual and fictitious glances open up. Contrasting colour combinations, dynamic movements and organic forms serve as abstract references to objects, living beings or nature itself. This layering and uncovering "creates two opposing perceptions: at the same time, colours and forms are both emphasized and subdued. How these function is ultimately not only context-dependant in the picture, but also influenced by social and cultural aspects, as well as by personal experiences and considerations," Nafe explains. In a constant interplay of moving and static picture elements, she creates an experiential space of two-dimensional surface and suggested spatiality, visual and haptic representation, surface and penetrated corporeality

Nadja Nafe is an artist in constant search of the possibilities and limitations of painting, always departing from the line and the painted surface. The processual nature of her works and the traceable conditions of image formation can be experienced in a tense relationship between composition and dissolution, construction and deconstruction.

Nafe's works invite the observer to look through painterly superimpositions, through delicate glazes, veils and layers of colour. If you are willing to look behind the superficially visible and engage with these pictorial depths, then you will see living gaps, cuts, factual and fictitious glances open up. Contrasting colour combinations, dynamic movements and organic forms serve as abstract references to objects, living beings or nature itself. This layering and uncovering "creates two opposing perceptions: at the same time, colours and forms are both emphasized and subdued. How these function is ultimately not only context-dependant in the picture, but also influenced by social and cultural aspects, as well as by personal experiences and considerations," Nafe explains. In a constant interplay of moving and static picture elements, she creates an experiential space of two-dimensional surface and suggested spatiality, visual and haptic representation, surface and penetrated corporeality

As an extension of the concept of drawing, the artist negotiates contemporary questions about presence and fleetingness using the technique of paper cutting and the resulting silhouettes and remaining outlines, and thereby discusses pictorial space as a sculptural object. The artistic strategy of the cut image also contains media-aesthetic qualities that appear in the play with light and shadow, in the interaction of positive and negative forms and in the perception of presence and absence. In addition, Nafe points to the semantic and symbolic dimensions of this medium through the partly serial appearance of ornament in her painting: ornament as a traditional form of knowledge of a collective visual memory into which mediated knowledge can be integrated.

Through her space-creating, space-changing artworks, be it in painting or collage technique, Nadja Nafe creates immediate perceptual situations and expands the classical concept of painting by using the triad of 'time, space, form'. She brings the constituent elements of colour, form, surface and material, which underlie her work, into a floating relationship, but deliberately leaves spaces open. But it is not the gaps with which the artist confronts us. She confronts us with what surrounds these spaces and thus connects the visible and the imaginable.

Because every void is an abundance. Because nothing has no form.

At least For the Moment.

As an extension of the concept of drawing, the artist negotiates contemporary questions about presence and fleetingness using the technique of paper cutting and the resulting silhouettes and remaining outlines, and thereby discusses pictorial space as a sculptural object. The artistic strategy of the cut image also contains media-aesthetic qualities that appear in the play with light and shadow, in the interaction of positive and negative forms and in the perception of presence and absence. In addition, Nafe points to the semantic and symbolic dimensions of this medium through the partly serial appearance of ornament in her painting: ornament as a traditional form of knowledge of a collective visual memory into which mediated knowledge can be integrated.

Through her space-creating, space-changing artworks, be it in painting or collage technique, Nadja Nafe creates immediate perceptual situations and expands the classical concept of painting by using the triad of 'time, space, form'. She brings the constituent elements of colour, form, surface and material, which underlie her work, into a floating relationship, but deliberately leaves spaces open. But it is not the gaps with which the artist confronts us. She confronts us with what surrounds these spaces and thus connects the visible and the imaginable.

Because every void is an abundance. Because nothing has no form.

At least For the Moment.

As an extension of the concept of drawing, the artist negotiates contemporary questions about presence and fleetingness using the technique of paper cutting and the resulting silhouettes and remaining outlines, and thereby discusses pictorial space as a sculptural object. The artistic strategy of the cut image also contains media-aesthetic qualities that appear in the play with light and shadow, in the interaction of positive and negative forms and in the perception of presence and absence. In addition, Nafe points to the semantic and symbolic dimensions of this medium through the partly serial appearance of ornament in her painting: ornament as a traditional form of knowledge of a collective visual memory into which mediated knowledge can be integrated.

Through her space-creating, space-changing artworks, be it in painting or collage technique, Nadja Nafe creates immediate perceptual situations and expands the classical concept of painting by using the triad of 'time, space, form'. She brings the constituent elements of colour, form, surface and material, which underlie her work, into a floating relationship, but deliberately leaves spaces open. But it is not the gaps with which the artist confronts us. She confronts us with what surrounds these spaces and thus connects the visible and the imaginable.

Because every void is an abundance. Because nothing has no form.

At least For the Moment.

As an extension of the concept of drawing, the artist negotiates contemporary questions about presence and fleetingness using the technique of paper cutting and the resulting silhouettes and remaining outlines, and thereby discusses pictorial space as a sculptural object. The artistic strategy of the cut image also contains media-aesthetic qualities that appear in the play with light and shadow, in the interaction of positive and negative forms and in the perception of presence and absence. In addition, Nafe points to the semantic and symbolic dimensions of this medium through the partly serial appearance of ornament in her painting: ornament as a traditional form of knowledge of a collective visual memory into which mediated knowledge can be integrated.

Through her space-creating, space-changing artworks, be it in painting or collage technique, Nadja Nafe creates immediate perceptual situations and expands the classical concept of painting by using the triad of 'time, space, form'. She brings the constituent elements of colour, form, surface and material, which underlie her work, into a floating relationship, but deliberately leaves spaces open. But it is not the gaps with which the artist confronts us. She confronts us with what surrounds these spaces and thus connects the visible and the imaginable.

Because every void is an abundance. Because nothing has no form.

At least For the Moment.

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