Collection: Lars Teichmann

The subject of Lars Teichmann's works is charged with quotations from the art historical past. He creates monumental canvas works that alienate and update familiar motifs according to a continuous systematic pattern: his motifs come from French salon painting of the 19th century or are reminiscent of classicist and baroque portraits. Lars Teichmann translates them into the present with the help of his own visual language. The powerful compositions are so reduced that they are just barely legible. The recognizable figures appeal to one's own visual memory and initially consciously awaken memories and associations. However, the initial familiarity created by this must give way to an irritating moment: the recipient's gaze is not returned by the figures depicted. A white surface casts the gaze back and allows the figure to remain anonymous. This is an unmistakable feature that runs through Teichmann's work. The means of alienation are always identical; He deliberately does not paint concrete hands, feet or faces, neglecting detail in favour of composition. This means that his figures remain open and mysterious at the same time: like the shadows of a pale memory, the ghostly-looking figures seem to float in the centre of the picture. His demonstratively placed empty spaces offer the viewer an opportunity to identify with them and thus challenge them to engage in a dialogue. Teichmann's works move on the border between figuration and abstraction; a constant game between the creation of figures and their dissolution in the mist of colour. Control and chance seem to be equally important here. Another special feature are the dripping marks, which could remind the viewer of techniques of abstract expressionism. The painting is thus constantly exhibiting itself, the painting process is clearly recognizable. Teichmann's energetic and rapid brushwork is still present in the painting when viewed. The style is understandable; thick traces of paint meet splashes and blurred streaks, which are crossed by running marks. When you look at the details, the figurative nature, which seems so clear from a distance, dissolves. Lars Teichmann's works therefore not only function as a window into a pictorial space, but also make the aesthetic boundary visible and thus address painting itself. — Christina Wigger