Andreas Schulze paintings open up a colorful, simplified strange world. The large sizes inflate what makes up the idyllic everyday life of middle-class. He only pays attention to things -“indifferent domed” shapes, as he even noted on sketches- which are the protagonists in a story in where humans have no place.
In the 1980s he moved around the Mülheimer Freiheit and Jungen Wilden, from he took the ‘sound’ of expressive brushstrokes but not the importance of the artistic subject. With seething flow and planar, thin paint, he does nothing contrary to prevailing artistic trends as combative. Set in the seemingly random references to his works as modern art works, whil eradiating an “offensive gentle kindness”, he emptied the clarity and rigor of these approaches. “I wanted to be misunderstood. As when someone who is familiar with modern art and has not prejudices, tries to paint a modern picture”, said Schulze in a interview in 1987.
Innocent as it seems, in the 1980s, his painting presents a minimalistic body in perspective amateurishly executed, while Donald Judd conjures with his specific objects (1965), the abandonment of anyillusionistic effect. In some paintings he adds small items, such as an apple or a pair of glasses, as someone that have lost in thought on the theory to put heavy object. They become fixtures, simple things, which humorously Schulze also gives attention in his later work. He paints sections of terraced houses, home-style living room furniture, combining landscapes with imaginary, biomorphic-abstract objects. Not only on the canvas, but also with large-scale installations and murals he created this human blank retreats. A bizarre coziness, which is in its seemingly naive obliviousness, unsettling.
The Berlin KUNSTSAELE showed a small selection of Schulze’s works. Even in this small collection, it contain various creative periods. It becomes clear how Schulze for years has remained true to his style and not tried any other adaptation. “Abstract Composition” a painting of the early 80s, denied itself by its size (2 x 4 meters) to be placed above the living room couch as a focal point. Like many of his works, it consists of several composite screens. With repetitive compositions of simple planar shapes from the background (spheres, cubes, or, as in the picture, ovals) let the piece as a reminiscence of ornamentation. In later works , as the four exhibited watercolors (each 70 x 90 cm), he takes again from those repetitive patterns, backgrounds and figurative elements. In other of the paintings, some objects can be seen at first glance as flowers or cars.
Kunstsaele Berlin combines gallery, collection and SALON-talks at one place. The exhibitions are made up of altering shows from „Sammlung Bergmeier“ and „Sammlung Oehmen“, now opened for public exploration, and of positions of conceptual and minimalistic art, which will be shown by the gallery Aanant & Zoo. The events of the SALON – a project conceived by THE OFFICE and Arthur Berlin – is an experimental space for discourse on art and related, current topics.
Text source: free translation by me from original in German in http://www.kunstsaele.de/?com=exhibition&id=33