Rauch’s paintings are like windows into fantastical, dream-like worlds. The large scale parti-colored paintings depict visual conundrums populated by figures, animals, and bizarre hybrids. Some of his paintings like Der Felsenwirt (2014) and Marina (2014) have a collage aesthetic because of the way he composes separate elements together, generally ignores perspective and scale, and uses dramatic light, shadow, and color.
In many of his imaginary scenes the creatures appear to be engaged in various indeterminable and sisyphean tasks. In Das Horn (2004) people appear to be engaged in a ritual. One male figure blows a horn while people clutching spears surround a modernist sculpture. The environment Raouch creates in Das Horn is beautiful and surreal in that it does not spell out what exactly is going in to the viewer but some things may still appear familiar. The narratives appear unrecognizable but Rauch leaves traces of familiarity enabling people to connect with the work at an emotional level.
Heillichtung (2014) is a diptych three meters tall and five meters wide. In the upper left hand corner Rauch included a psychedelic rectangular insert visually distinct from the rest of the painting. It depicts a discordant arrangement of houses in vibrant colors. The insert functions as an additive compositional device that contrasts the tenebrous narrative taking place in the rest of the piece. In the rest of the painting elements including the head of a donkey, Brancusi’s Endless Column, what appears to be a UFO, a burning building, a man on a stretcher surrounded by other men and women tending to him, and men in uniform contribute to the sensation of uncertainty of what the narrative means because their relationship to each other is unknown.
Rauch’s work cannot be pegged down to be purely social realism or surrealist despite its surrealist qualities because his paintings come from real and imaginary experiences. He does not aim to shock people or depict sexual fantasy as Surrealist Salvador Dali did. Rauch describes his work as having a vital quality like a creature or animal that can be acknowledged as such but its meaning does not necessitate understanding by the viewer.
I would just first simply suggest putting appropriate titles right underneath each of the three photos you have in your review. I was reading the review but couldn't match your references to the images.
ReplyDeleteBut what i get out of your review are three key elements of Rauch's works, which are the wordscollage, familiar, and visual conundrum (as a phrase).
I do love how you conclude the review with "its meaning does not necessitate understanding by the viewer". This seems to be many artists way of excusing any mistakes or untied ends, but in the case of Rausch just the sheer scale and the compositional acumen and painting/color theory skill he possesses is enough to enjoy his pieces without having to understand his art historical references or even social realist tendencies. Like I had said in class, I felt that there is something in that room that Rausch has created by the sheer scale of the paintings reaching the ceiling and occupying your psychic space. And that the people in the gallery seemed intoxicated by the atmosphere around the paintings.
It is a great review to look Neo's works closely. I enjoy reading your description of painting details in his paintings since I sympathize your words that I thought.
ReplyDeleteIn particular, at the last paragraph, I like the last sentence and I can see your personal perspective in his surrealistic works by comparing purely social realism or surrealism and his style.
Thanks for sharing, nice post! Post really provice useful information!
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