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04/09/2015lesung: christoph w. bauer
7 pm    
7 pm


ilse abka-prandstetter

exhibitions are always an opportunity for ilse abka-prandstetter (I.A.P.) to take stock of a period, they give account of a work phase finished or about to be finished. when she was selecting the works for this exhibition in the artdepot’s spacious rooms, it seemed appropriate to her to include “tibetan red”, an elongated canvas from 2011, a punto di partenza, so to speak, for a sequence of rather square formats, a sort of chromatic overture. 

however, she eventually departed from this idea when she saw that the aesthetic strategy had completely changed throughout the past years. titles are not insignificant to I.A.P., they are poetic metaphors for conditions, they are not representational, very extra-figurative, orientating terms and in no way open to interpretation in an illustrative sense.

she has prefixed the works, paintings and sculptures in this exhibition with the term “weightless”. weightless, this associates floating elements in the air, feathers, leaves, visible as almost calligraphic forms moving in the light, soaring and falling. – the titles which she comes up with emphasize movement. they range from “ablaze” (non-static condition) to “thrashing around” (a thing, a thrashing child), to “flying” and “airsinger” à she loves adjectives of action.

ilse abka-prandstetter is a thoroughbred painter, who has assembled her concept from modernism, an abstract-expressive form of an image, which she infuses with emotional states and sublimates the representational.

her shapes act in front of large backgrounds (hence her fondness of terms of action). painting, she professes, means making inner conditions visible. the format, preferably square, an equilibrium, a wish for poise, which is also included in the all-over-philosophy. 

so far we have spoken about her painting, her joy of animated and intense color, which does not condense itself into figurative forms. as you noticed, the artist has been working with finely woven wire for some time. sculptures which maybe permit associations with the physical (plant, blossom, the body). the receding three-dimensional forms reflect the light, also allow it to pass through, and appear to be precious, silver, despite their technical substance (fly screen). light is an essential co-creator in this case. the tender material supports the imagination of flying.

the artist’s intention – her experiences – becomes apparent through the dialogue with her paintings. experiences of the perception of modernist painting extra as abstract expressionism. experiences of nature and of transformations. experiences as a dream introducing poetry into her art. with this in mind, I.A.P. is interested in her own progress, in progressing and not at all in the progress of art, whatever that may be.

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