Artist: Emanuel Seitz
Venue: Christine Mayer, Munich
Date: March 9 – April 10, 2021
Full gallery of images, press release and link available after the jump.
Images courtesy of Christine Mayer, Munich
A conversation between
Thomas von Poschinger, Emanuel Seitz and Lena Tilk.
TvP: Dear Emanuel, your paintings are raw and laconic at the same time. What role does emotion play for you in your work?
ES: When I create my paintings, emotion is not at the centre.
Only once the painting is finished, I consider what kind of emotion it conveys. But while painting, my emotions do not play a role.
My sensibilities do not appear in the paintings.
LT: Would you say that there is something meditative in painting the stripes?
ES: Yes, this way of painting calms me. It is not therapeutic per se, but the process is in fact liberated from certain constraints such as composition, structure, etc. It is a relaxed way of painting.
TvP: Is the entire painting meant to dissolve into nothingness or is it more about being additive, about bringing the image to the forefront?
I sometimes have the desire to paint a wall. But with you that is not really the case. There are these in-between spaces.
ES: It is a painting, but it is also a journey.
You practically walk along the painting, and I determine the length of the journey in advance through the format.
LT: There are certain decisions you make. Why the choice of coarse burlap?
ES: Burlap has resistance. I can use thin paint without it running.
Like on wood or fabric, the paint just stays put.
The paint has to sit completely dry.
LT: The usual primer for a canvas is white, so why don’t you opt for white?
ES: Actually, it is a preference on my part. I like to start with a light grey, a light beige. It immediately changes the temperature of the painting.
With landscapes, I have always been interested in the sombre.
LT: But you actually exclude elements of landscape completely in these paintings, don’t you?
ES: Yes, there is no landscape in the painting itself, but as a whole, the format of the painting is almost reminiscent of abstract landscape paintings.
LT: Why do you paint your paintings with a bent brush?
ES: In this way you outwit your own gesture. The virtuosity falls away.
In addition, I adapt the size of the brush to the format of the canvas.
For large-format paintings, I also use a wider brush. It is important that you still see the structure and the width of the brush within the stripe.
TvP: With Keith Haring, it is possible to speak of an endless line.
Are your stripe paintings also about an ongoing process or automatism that never wants to end?
ES: As a matter of fact, the paintings are almost entirely processual, also because of their movement from left to right.
I paint all my paintings from left to right.
Text translated by Jennifer Leetsch.