Much huffing and puffing as I tidy up the studio and do trips to Kaiser to buy nibbles for the Opening of my Exhibition, ‘Consolation For Our Mortality'. Borrowing a sort of baby buggy from Marcus in the cellar, Tom helps me trundle back the cases of beer. The show looks good and I'm both relieved and excited.
In the evening I went to meet up with Carla and Tom for the Opening of Daniel Biesold's paintings at the Koal gallery. His work interests me as he uses acrylic mediums in a layered semi-transparent way, as I too have been experimenting with for years. The monochromatic, white with hints of black or colour, paintings looked elegantly calm. However well achieved, there is still the hurdle here that I face too, of the finishing areas at the edges causing happenstance to predominate.
Going on from there to the DNA gallery where a Japanese artist had his Opening, showing colouring book cartoon drawings of the lives of the people where his installation had just been exhibited in Singapore. Downstairs there was a painting by Clemence Krauss, for whom Tom works as a studio assistant. The work is figurative and uses excessive build-ups of oil paint with fast drying mediums to make figures that are then cut out and glued to the canvas along with words that are made by squeezing directly from the tube. As if Auerbach or Kossuth went Pop. Not my thing, but I can see how people who rave about the sensuousness of oil paint and who like, for example, Therese Oulton's work could like these. He sells well especially in Brazil.
