FOUNTAIN PROJECTS x

Johannes Huntenburg

Johannes has developed an interest in collaboration and its inherent potential to allow for a deeper understanding of his own creative voice through the visual representation of dialogue. Together we have worked on a series of limited editions that act as a form of structural study of the ephemeral moment that seems to occur just before a given composition begins to become grounded in line and color. These editions, in a sense, are a representation of paintings sitting on the fence about what they want to become. 

 

ON-GOING

ABOUT MY ARTWORKS

Gerhard Richter once commented on the process and ultimately the practice of painting, that: “(it) has nothing to do with thinking, because in painting thinking is painting. Thinking is language – record-keeping – and has to take place before and after. Einstein did not think when he was calculating: he calculated – producing the next equation in reaction to the one that went before – just as in painting one form is a response to another, and so on”. in this statement I find there to be an inherent question concerning the nature of translation and it’s capacity to transgress the same dichotomy one can find within the process of painting. Painting facilitates a form of dialogue with one self while the nature thought is, by definition, inherently internal, constantly fluctuating and thus only made visible through the act of painting itself. I would argue that the essential space in which (if you want to call it that) raw or unedited thought presides is ultimately intangible to anyone but the self. However, as thinking patterns begin to form they are almost immediately channeled through different modes of expression, primarily language which acts as a facilitator for the most common form of interpersonal dialogue hence creating a quite specific structure (verbal and written) that painting, as the dominantly visual form of expression rarely seems coincide with and yet is extensively written about. Painting, in its proposed capacity to enact or perform thinking visually, allows for the ability to generate complex, hypothetical and, in result often very abstract mappings of personal consciousness, making it presentable and allowing the perceived to be essentially “experienced” in the same illusive space in which the artist experienced it, thus suggesting a fundamental relevance in the translation of medium specificity. Addressing the omnipresent question about the relevance of paint as a medium is a task which is explored initially almost to its entirety within the subconscious. The self implied commitment to finding obsession in the development of something that derives context from within itself, in a way is much like trying to understand the very depth of our perceivable reality. 

STRUCTURAL STUDY​

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VASE

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SPRINGER​

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HEAD​

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MASSIV

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TRANSIT

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KINETIC PUNK

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REMINENCE

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ABOUT JOHANNES HUNTENBURG

Writing about ones work can carry a sense of permanence which, I find, makes it particularly hard to describe work that is collaborative and thus process driven and in often rapid flux. However I have learned that medium specificity allows for a structured descent into the layered blur of ever fluctuating painted and material dissonance. Yet at the same time the ephemeral nature of a process such as collaboration becomes a vehicle for the raging desire to infuse the body of work with enough chromatic tissue and cohesive fibre in order to allow for a most fluid form of maturing in both medial integrity as well as structural honesty.

Throughout my recent studio practice I have occasionally known frustration to be a great companion in the studio specially when in need to a motivational boost, once it loses its intimacy however its becomes a clear sign that it is time for a change. presented with an overwhelming amount of option i increasingly found my studio sinking into a chaos - and it became the organisation, the curation of said chaos from which i slowly derived a sense of formal structure. there is, as I learned, a very distinct line between having a messy practice/studio and a chaotic one. Beauty, or perhaps more appropriately in this case the meaty gesture of beauty, is generally defined and often amplified by the mess around it, whereas in chaos its very concept is turned inside out. i do believe there is a dialogue within paintings that can be everything from serial to unique, and this dialogue can occur on a formal/practical level as well as a theoretical level. marks do correspond to each other, colour can navigate different points of perspective figuratively, gesturally and abstractly the same way a line can be affirmative as much as dismissive. “

FIND ME

 

WE INTERVIEWED JOHANNES & ASKED HIM SOME QUESTIONS ABOUT HIMSELF AND HIS PASSION

For how many years have you been an artist?

Officially, if one can say it that way, I would say since 2014, even though I have been drawing since my childhood. I guess it is up the individual to decide whether you need a certain amount of experience to call yourself an artist as technically everyone can call themselves an artist whatever the discipline

 

Self-taught or art school?

I attended a couple of extra curricular art classes when I was young but I would say that my area of focus throughout the years has been drawing. However it was not until I had to deal with drawing from life more frequently at the Rhode Island School of Design, that I even began to fathom the whole spectrum of drawing. 


 

With or without music? If yes? What kind of music?

There is not much going on for me creatively unless there is music involved and I would definitely say that I have a preference. Recently, I have been listening to more electro and techno sets, but I am also open for a round of classical tunes for contrast. The only thing I never listen to is radio.

Why do you make art?

If I knew that, I would probably do something else.

If you could keep only one piece of art, which one would you chose and why?

I would do dirty things for a candle painting by Gerhard Richter

 

Did you ever get hurt at work?

A couple of times, but I learned that you have to enjoy a carpet knife with caution.

How does a day look alike in your life?

The day starts, when the coffee is ready, followed by news and the resulting bad mood, which flies by quickly however. The first half of the day usually surrounds FOUNTAIN PROJECTS after which I usually go to the studio where I stay rather late into the night as i find myself working most effectively when there aren't as many distractions. It is also satisfying for me to sit on the tram home with all the people working in the morning shift, while knowing that I am on the way into my bed.

Thank you, 

Johannes. 

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