Pia Krajewski

Dazwischen, 2018

Oil on Canvas

180 × 150 cm


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Artwork
Description

Pia Krajewski’s paintings are surprisingly tactile for abstract renditions of surfaces and objects. Everything she paints has a delicious aspect about it: poetic and elusive, the viewer caresses these objects with their eyes, perhaps also desiring to reach out and touch them.

Dazwischen reworks Krajewski’s familiar motif of an amorphous orange arm reaching across the canvas. In this image the hand and body are invisible: does the torso hide behind the white sheet, or where the orange tube slides off the beige surface at the bottom of the canvas? Abstracted from any apparent meaning, the arm dissolves into simple form, holding the visual elements of the picture together in its vertical centrality.  

Dazwischen can be translated as ‘between’ or ‘betwixt’. This proposition captures the aesthetic elements of the painting without betraying any sense of deeper intellectual symbolism. What is important is the placement of the objects, not their nature: how they are in the world rather than what they are. This encapsulates Krajewski’s practice. The painted objects acquire a uniform structure on the picture plane, becoming part of the flat world of images, whose potential can only be retrieved through viewing and association. This title is therefore totally apt: ‘between’ being both a visual description of the spatial arrangement and implying an association of the objects.

About
the artist

Pia Krajewski was born in 1990 in Cologne, Germany. She spent seven years at the Kunstakademie Düsseldorf studying painting under Dietmar Lutz and Andreas Schulze. Selected shows include 72. Internationale Bergische Kunstausstellung at the Kunstmuseum Solingen and a clue at the bookstore Walther Koenig at Kunsthalle Düsseldorf. In 2018 Krajewski was the Winsor & Newton Artist-in-Residence at the Künstlerhaus Bethanien, Berlin.

Krajewski’s paintings are characterised by a certain poetic representation of objects. Lemons, arms, tables and vases are carefully selected and depicted. The objects’ appearances are clear, but removed from their everyday environments their meaning is annoyingly elusive. Krajewski creates a world where coherent narrative is lacking, however physicality is never in doubt. Her imagery is formally meaningful where it is intellectually frustrating: the painted objects are given a uniformity by their presence on the same picture plane.

The logic of Pia Krajewski’s paintings is the logic of vision made bare. She shows the viewer a kind of parallel world, a world comprised solely of sight: a world which promises the knowledge of what it really is to see. In the absence of any cerebral cues, the viewer is moved to this understanding physically rather than intellectually, attaining a position of distance that allows revelations and associations to rise to the fore.

Krajewski’s images are sensible: just look at the hands and arms that reach under tables, point towards picture frames. In a move that recalls medieval theories of vision, sight is represented as a finger pressing a vase: one thinks of Giotto’s figure of Circumspection in the Arena Chapel, her eyes protruding tentacles, testifying to the physicality of seeing.

The artist sensitively guides our perception; her paintings are as pleasurable as they are gentle, reaching out to press softly on our eyes.


The logic of Pia Krajewski’s paintings is the logic of vision made bare. She shows the viewer a kind of parallel world, a world comprised solely of sight: a world which promises the knowledge of what it really is to see.


Pia Krajewski
on Artuner

Part of the
exhibition

November 1st, 2018 until
January 6th, 2019
Curated by ARTUNER