LIQUID NEBULA

40 X 30cm • RESIN • ACRYLICS • 2017

THE BECOMING

60 X 60cm • RESIN • ACRYLICS • 2017

ORACLE OF VULCAN

60 X 60cm • RESIN • ACRYLICS • 2017

VULCAN

60 X 60cm • RESIN • ACRYLICS • 2017

BETWEEN LIVES

40 X 60cm • RESIN • ACRYLICS • 2017

DARK MATTER

90 X 60cm • RESIN • ACRYLICS • 2017

For the artist Marcus Sprigens elaborate experiments and research to test and prove the physical characteristics of different kinds of paint such as oil, aquarelle, tempera and acrylic, lacquers and binders, varnish and matt, are for him another strand of curiosity, using these pigments and emulsions to examine their interactions with each other. The themes and motifs, the iconographic interests and favourites of the artist are dialectically interwoven within these technical contexts. In a way these motifs and techniques find each other automatically in creating both random pictures as well as meticulously planned ones. Some of these paintings may remind one of the so called Rorschach tests but also of psychedelic art. While the Rorschach tests act as a kind of psychological diagnostic tool with the aim of deconstructing random forms and colourful blobs as an emanation of psychic characteristics, thus acting as a personality test, psychedelic art tries to reactivate drug experiences as aesthetic structures. Both methods are similar in using random structures.

 

The abstract resin based paintings of Sprigens, Liquid Nebula, The Becoming, Oracle of Vulcan, Vulcan, Between Lives, Dark Matter, When Dogs Dream and Pilgrims of the Black Hole, each participate with mixtures of both strategies.

 

Everything which is thinkable may elsewhere be some kind of reality or may become one. That is to say that the thermodynamic principle of probability seems certainly to have been considered by the artist, with respect to these works. These paintings show as indicated, turbulent or nebulous matter that can be thought of as both earthly and extraterrestrial in nature. So they may act as perfect illustrations for space time constellations, which men have never seen before: planetary and cosmic nebulae, space curvatures, singularities, event horizons, Einstein-Rosen Bridges, worm holes, warp drives … Insofar these paintings have utopian power and prominence.

 

These impulsive art works are also self-referenced because they express the physical reality of colouring in addition to the gestural process of painting itself. Therefore the act of painting in a way reflects on itself. The gestural blur of these paintings with it's principle of form absence as an area of conflict, between dissolving the form or creating the form, marks a precise substance in itself, corresponding in a striking way to the etheric-gaseous character of cosmic nebulae. The blurred fuzziness and cloudy vagueness define the early stages of evolution and planetary development in which the gaseous particles in space have not yet condensed to solid bodies. Dust, light, fog, smoke, gas and cloud as a whole are physical elements with principal vagueness, which are able to change their contours as the gestalt psychology describes. This openness means in terms of paint strategies to use colours autonomously and spontaneously as independent objects.

 

Text: Prof. Dr. Volker Fischer, Master Curator, Art Historian and Critic Honorary Professor of the Academy of Art and Design, Offenbach am Main / Frankfurt

WHEN DOGS DREAM

55 X 50cm • RESIN • ACRYLICS • 2017

PILGRIMS OF THE BLACK HOLE

60 X 60cm • RESIN • ACRYLICS • 2017

A Dog's Dream and Pilgrims of the Black Hole are characterised by circular forms, which may be reminiscent of sand structures, waves, snowflakes or craters, which could also come from other planets, or pictures from a microscope. Furthermore these circular forms remain on symmetrical blossoms.

 

As in the kaleidoscopes of children with their coloured glass stones that create new ornamental patterns by turning and mirroring, these pictures Pilgrims of the Black Hole and Dog's Dream, seem to constitute a similar effect. Also these two art works remind one of the coloured lithographs of the zoologist Ernst Haeckel who published his famous book Art Forms in Nature in 1904. Here he showed detailed drawings of radiolarians, medusae, sponges, cnidaria, amoebas and protean animalcules, very small living creatures only visible as lifeforms with a microscope. This book was important in respect to morphology and development history. It used Charles Darwin's theory to create a general morphology including the objects of inorganic nature. In doing so Haeckel stated biogenetic constitution as a basic law. The ornamental composed plates of this book have had a great influence on the art of the first half of the 20th century especially the surrealism of Max Ernst, but also Paul Klee and Wassily Kandinsky. Hans Blossfeldt's black-and-white plant photographs, published by Karl Blossfeldt in 1928, were equally influential and their plasticity and naturalness were comparable to Haeckel's drawings, which in their new objectivity had inspired the ornamental design of contemporary products. They were originally intended as didactic material for teaching, but after a gallery owner came into contact with these photographs, they were then published in the mentioned book which became an immediate international success, so the cultural and aesthetic importance of these pictures became clear.

 

But in contrast to Haeckels radiolaria and proteans or Blossfeldts beach thistles (eryngium), midday flowerings (mesembryanthemum) and saxifrage greenhouses (saxifrages) the paintings of Sprigens have no scale contexts. So they could also be extremely small as well as extremely large. This scale-shifting enhances the possibilities of interpretations and brings these images into the vicinity of the artists creature-like prehistoric fantasy biotopes and retro science fiction inventions. So once more it becomes clear that the material curiosity of Sprigens interacts with his curiousness for iconography. These paintings establish this artist again as an analytic dreamer as well as a dreaming analyst.

 

Text: Prof. Dr. Volker Fischer, Master Curator, Art Historian and Critic Honorary Professor of the Academy of Art and Design, Offenbach am Main / Frankfurt