Volume VI – Thomas Geiger & Pieternel Vermoortel
Volume VI – Thomas Geiger & Pieternel Vermoortel

June 2022

Thomas’ work sheds light on topics such as democratization, economization, freedom, play, embodiment, gathering and occupation. All of these are topics whose discourses underwent rapid changes over this last year. This underpinning of change lends a sensitivity and fragility to the work that also informs the rich set of sentiments present in these conversations: alienation, family comfort, fear, loneliness, love, depression, revolt and not to be underestimated anger.

Volume VI – Thomas Geiger & Pieternel Vermoortel

Sperling

all exhibits

Stefan Fuchs: Saturdays People

20.01.2017–4.03.2017

Acrylic on canvas that turns into mirrors. Pictures tell stories of those who look at them. Look at them. Fear, joy, human abysses. Sculptures and paintings. Stefan’s first commercial exhibition. Barbour jackets. Naive scenes that tell of precarious labor and human flaws.
The visual penetration of an artist who rejected a show 2 years ago after having seen the flyer. (I miss you R). And when, back in the day, a boy would see Kirchner boots in his spaetzle, which now manifests into a collective experience for insiders. Those, who were there on Saturday. Sprezzatura.

And then, sculptures, referencing a more innocent era of insecurity and pure hope. The wolf in sealskin clothing brings in the harvest of prior projects. I refuse to participate in failure.

According to the American psychologist Claire W. Graves, the gradual development of indi- vidual and collective consciousness abides to a spiral structure. With every developmental step, humankind becomes more tolerant, peaceful and empathetic. The meek will inherit the earth. Currently, the Western World is situated on a consciousness level centered on self benefit. The next step in human awareness is becoming increasingly influential: Gender equality, veganism, community. The distinctive, individual brushwork – a sense of hu- maneness is clearly apparent in these pictures.

His cockiness, his enthusiasm, the pubescent jokes and this innocent formalism, whilst he talks about sculptures by an artist, that look a bit like the early work of another artist who had a show in Baltimore 3 months ago with the collective XY – actually I really don’t care – all I really see is a boy who just wants to paint and who I value because of that. It all cul- minates in a whirlpool – in the reception, conversations, friendships, rivalries, fears, objects melt one into the other and it ultimately becomes impossible to describe what the work really is about. When and where the show actually stops.

Text by Yves-Michele Saß

Press

  • gallerytalk.net
  • Artviewer
Installation view: Stefan Fuchs, “Saturdays People”, 2017
Stefan Fuchs, Mental, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm
Stefan Fuchs, The shed, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm
Stefan Fuchs, Something hot, 2017, Mixed media, 151 × 137 × 70 cm
Installation view: Stefan Fuchs, “Saturdays People”, 2017
Stefan Fuchs, Part time painter, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm
Installation view: Stefan Fuchs, “Saturdays People”, 2017
Stefan Fuchs, Chameleons of the night, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm
Stefan Fuchs, The very very first wuwu painting, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm
Installation view: Stefan Fuchs, “Saturdays People”, 2017
Stefan Fuchs, Abandoned space. Wifi stays, 2017, Mixed media, 171 × 73 × 62 cm
Stefan Fuchs, Abandoned space. Wifi stays (detail), 2017, Mixed media, 171 × 73 × 62 cm
Installation view: Stefan Fuchs, “Saturdays People”, 2017
Stefan Fuchs, Hunch it your way, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm
Stefan Fuchs, Lucky by coincidence, 2017, Acrylic and watercolor pencil on canvas, 90 × 60 cm