"I draw time, you paint the moment," is the slogan Ingo Fröhlich has found for his collaboration with Ulrike Seyboth. The starting point is the same for both of them, the white surface, although not in the same sense as for other painters and draftsmen. The departure from the widespread habitus of understanding the white canvas or the white sheet of paper merely as a surface, as a two-dimensional support for a picture, is the first decisive preliminary decision of their working relationship. White is not merely a neutral primer. The radiance of this color lends the material image carrier a very specific, literally "shallow" spatiality in each case: empty, yet opaque; dense, yet open; uniform with complete instability. One can draw solid dimensions into this shallow space, project forms, construct a figure-ground ambivalence, and the like. But one can also regard the emptiness, density, and fluidity of the white picture surface itself as something malleable, as a plastic medium, as Ingo Fröhlich and Ulrike Seyboth do. Then each stroke is a trace that cannot stand alone, and each spot a mark that has yet to find its place, that is: the beginning of a kind of dialogue with an uncertain outcome. (Robert Kudielka, Berlin, 2021)

ICH ZEICHNE DIE ZEIT, DU MALST DEN MOMENT (Part II)

Take 3D Tour