St. Matthäus church,
GALERIE BORN, Berlin:
BieneFeld
Schwemmland
20 April – 12 August 2012
BieneFeld – Das Wäldchen, 2012, Öl auf Leinwand 90 x 200 cm
BieneFeld – Fiume Sosio, 2012, Öl auf Leinwand, 160 x 200 cm
BieneFeld – Januar 2011, Öl auf Leinwand, 160 x 200 cm
BieneFeld – Licht_ Wo immer, 2012, Öl auf Leinwand, 200 x 220 cm
BieneFeld – Patagonia II 2011, Öl auf Leinwand, 100 x 160 cm
BieneFeld
| 1960 | born in Greifswald, Germany |
| 1980 – 1982 | Studies at the University of Graphic Arts and Book Art, Leipzig |
| 1988 – 1995 | Studies at the Berlin University of the Arts |
lives and works in Berlin
Placeless Sourjourn
(…) No two sets of eyes see a picture in the exact same way, and Biene Feld’s works strikingly confirm this old experience.
We are reminded of the demand Leonardo made to the artists of his own time: He recommended that they read spots and stains on an old wall as representations, for example as clouds or vortices, in order to train one’s own imagination. Biene Feld’s works in fact present challenges to our imaginative powers – and the open-ended nature of her works that she herself observed receives a doubled meaning. The pictures are perhaps first truly completed by us when we look intensely at them. (…)
The viewer thinks that he can make out small accessory figures that, however, could also be parts of the landscape, posts, small trees or indeterminable vertical markings in the structure of the landscape. In doing so, the artist denies us a scale with the help of which we could ascertain the sizes and proportions of what is depicted on the picture plane. “Micro-megale” structures emerge: the picture as a whole as well as its parts equally seem as if they were monumentally large or very small and seen from close up. The composition as well can likewise be perceived as an overview seen from a great distance or as a concisely delineated microcosm seen from a close proximity. Biene Feld incidentally also likes to take such eye-deceiving pictures with the camera, photographs of dried up puddles, for example, that appear like expansive stretches of desert seen from great heights. (…)
There is no single definitive observation; a final truth does not exist and perception is allowed to jump back and forth before the picture – whoever sees the works must not only be prepared to acknowledge irritations, but to creatively accept them as well. (…)
Landscapes, rough but not forbidding; scenarios, placeless but also offering our eye a sojourn.
Extract from the catalog text by Prof. Dr. Bernd Wolfgang Lindemann, Director of the The National Museums’ Gemäldegalerie, Berlin