Conny Dietzschold Gallery, Sydney - Cologne

Edgar Diehl / Tom Loveday: Healing Colours and Infinity (Sydney)

Edgar Diehl / Tom Loveday: Healing Colours and Infinity (Sydney)

mse xiv by edgar diehl

Edgar Diehl

MSE XIV, 2012

Preis auf Anfrage

i love australia by edgar diehl

Edgar Diehl

I love Australia, 2012

Preis auf Anfrage

edge of the world #1 by tom loveday

Tom Loveday

Edge of the World #1, 2012

Preis auf Anfrage

edge of the world # 5 by tom loveday

Tom Loveday

Edge of the World # 5, 2012

Verkauft

Dienstag, 5. März 2013Samstag, 6. April 2013


Sydney, Australia

Edgar Diehl - Germany
Tom Loveday - Australia

Healing Colours and Infinity

5 March - 6 April 2013
Opening: Tuesday 5 March, 6 - 8 pm

Finissage Closing Drinks - Saturday 6 April 3 - 5pm

The exhibition will be opened by the Consul General of Germany Dr. Hans-Dieter Steinbach and by Dr. Jacqueline Millner, arts writer and academic in history and theory of contemporary art at the SCA.
The artist Tom Loveday will be present.

Coming from opposite sides of the globe yet sharing an affinity towards the transformative nature of colour, Conny Dietzschold Gallery is proud to present the first joint exhibition of Australian artist Dr Tom Loveday and German sculptor/painter Edgare Diehl. In this brilliant collision of colour and movement these artists celebrate the history as well as the development of colour in contemporary art today.
In his latest series of paintings, Tom Loveday’s contemplative hard-edge colour paintings explore the spatial power of colour and complex curved geometry. He says that “Colour is a power, not a quality of an object. Colour’s power comes from the will of each individual. Each individual’s will comes from that peculiar space between the body and the soul. Colour’s power is therefore always and immediately spatial”.Loveday controversially combines techniques from the paintings of Bridget Riley and the prints and paintings of Victor Vasarely. While Vasarely embraced the democratic distribution of his work through commercial use in design and architecture, Riley steadfastly rejected such popularisation and yet both were initially included under the art genre, Op Art. However together, their ideas reflect Robert Delaunay’s earlier theory “Simultaneous Colour Constrast,” which he in turn derived from the 19th century colour theorist Michel Eugène Chevreul. Op Art was rejected as far too “formalist” by the end of the 1960s. In rejecting the formal use of colour in Op Art, certain other aspects of hard-edge abstract use of colour, such as the political, social and philosophical dimensions were also ignored. The slow revival of hard-edge painting and the complex use of colour in the late 20th and early 21st centuries has mostly re-invented the work made in the 1960s. There remains much more that can be done with hard-edged abstract colour. The Edge of the World series is one more step.

Edgar Diehl’s relief paintings, sculptures or objects, depend on one’s perspective. The works are in the first instance closely related to cubist painting, secondly to early constructivist art, thirdly to concrete painting and fourthly to Op Art. It was the cubists who developed the process of breaking up the image space into sectors or fragments using different perspectives. From as early as 1912 it was evident, that such a technique can also be extended to the material surface, ie. George Braque introduced paper and small three dimensional objects and materials in collages. In the same year Pablo Picasso transposed his collages into optical fragmentations of space into actual folding, bending and three dimensional assemblage of collaged pieces of paper, creating hollow paper bodies.
The objects by Edgar Diehl make use of actual bends and folds in the image media: aluminium panels, mirrored on a vertical symmetrical axis, are bent at numerous points, so they appear visually layers of surface segments variably distanced from the wall. These folds and bends and gradations, which can be vertical, horizontal and diagonal, mean that each surface shows a different angle to the wall. Therefore, the light breaks on them in different angles. Thus the relief consists of numerous surfaces and even thought the different angles are painted with the same colour, they appear differently.

Please visit the exhibition online