Wolfgang Krauch
Bio
He was born in Asunción in 1980, in the Las Mercedes neighborhood, near the last tram stop and Perú and Artigas streets.
The exhibition that will be enabled in the month of August 2024 at Fábrica gallery/art club “is made up of a series of drawings in ink or graphite on paper characterized by the meticulous detail in their workmanship. However, the true poetic charge possibly lies in Wolfgang Krauch's life choices that are reflected in his drawings.
Statement
Between the abstract and figurative, where the division between both ideas is found is in the intangible of the image.
Escape the idea of what is defined and interpreted. Plants do not respond to those terms, only those necessary to live. The mountain and the yuyal have always been synonymous with the unknown, disordered and wild, because their structure does not match the formal norms that govern our structuring of reality.
In the untamed weed is what I want to learn.
I want to learn to break the linearity of the landscape narrative, without establishing priority planes or protagonisms.
Venerate the whole and "nature", venerate each leaf and each branch, venerate life, the sun and its shadows from contemplation free of preconceptions or expectations.
In the study of fractals, a great similarity was found between the algorithm generated by the shadows of tree branches and Pollock's splatter paintings.
10 years ago the process of painting and drawing with the camera lucida used in the 15th century was documented and recreated.
The ideas of Art and the artist, in our global existence as a culture, are only 500 years old, and within this period they undergo constant mutation, however, the idea of a craft has remained unchanged for more than 10,000 years.
The line is a tool of analysis, since its very existence implies a division; when drawing without lines there is no discrimination between visual elements.
Nature and culture are created ideas that purchase the unity of the whole that surrounds us and leave the human being facing a binary field of action.
In oriental ink painting, the most realistic results are achieved from the chance of the stain.
I want to learn to abandon the anthropocentric view and give prominence to what I take for granted.
I want to stop and smell the flowers and watch the grass grow.
The void and the whole coexist in the depths of the mountain forest, where the gaze is lost among the shadows of the leaves.
Take a step back so the plants can do what I can't imagine.
The beauty of landscapes is not a unique privilege of European painting.
I accept my contradictions, without them my humanity would not exist.
2.5 x 4m / 98.4 x 157 in
