【繪畫】Tina Schwarz｜新作品

Tina Schwarz

2017

Ohne Titel, 2017

Pastel, oil and acrylic on linen

70 9/10 × 58 3/10 in

180 × 148 cm

Ohne Titel, 2017

Pastel, oil and acrylic on linen

70 9/10 × 55 1/10 in

180 × 140 cm

When Riding A Dead Horse They Tend To Use The Golden Spurs, 2017

Oil, oil pastel, flash acrylic and pastel on linen

70 9/10 × 59 1/10 in

180 × 150 cm

I Never Saw The Dog, But I Recognised Its Bark II, 2017

Oil, pastel and flash acrylic on linen

19 7/10 × 15 7/10 in

50 × 40 cm

Movement No. 2, 2017

Pastel, oil and acrylic on linen

11 4/5 × 9 4/5 in

30 × 25 cm

Ohne Titel, 2017

Pastel, oil and acrylic on linen

11 4/5 × 9 4/5 in

30 × 25 cm

Movement No. 3, 2017

Oil, flash acrylic and chalk on linen

11 4/5 × 9 2/5 in

30 × 24 cm

Ohne Titel, 2017

Pastel, oil and acrylic on linen

23 3/5 × 19 7/10 in

60 × 50 cm

Die Schatten sind länger als der Tag, 2017

Oil and flash acrylic on linen

11 4/5 × 9 2/5 in

30 × 24 cm

Movement No. 1, 2017

Pastel on linen

70 9/10 × 59 1/10 in

180 × 150 cm

Untitled, 2017

Pastel and oil on linen

19 7/10 × 15 7/10 in

50 × 40 cm

其他作品

Untitled, 2016

Oil and acrylic on linen

74 4/5 × 63 in

190 × 160 cm

Tina Schwarz, Untitled (Rachegöttinen), 2016

Oil and acrylic on linen

190 x 160 cm

Untitled (Als Schlitzohr durch's Siegestor), 2016

Oil and acrylic on paper

78 × 53 1/2 in

198 × 136 cm

Tina Schwarz, Untitled (fears du mal), 2016

Oil and acrylic on paper

30 x 23 cm

Tina Schwarz, Untitled, 2015

Oil on linen

40 x 50 cm

Tina Schwarz (*1977 in Friedberg, Germany), who recently spent some time in Los Angeles, completing a residency at Hooper Projects, is inspired by the drawings and graphics of the Old Masters, whose basic designs she deftly sketches on paper or utilizes as the starting point for her paintings. She combines these motifs with a theme that is both contemporary and timeless: the link between history and current events, which she creates by establishing reference points between, for example, current political developments and philosophy or artists such as Goya.

The human body in its physical presence, but also in its vulnerability, finite nature and absence, is often at the centre of her work, turning her paintings into an art of counter-perception, oriented towards the timeless, without repudiating the contemporary, striving for allegory, while constructing a polyfocal labyrinth of uncertainties. The dissection of space and the concurrent dynamization of the image are conspicuous, connected as they are to the breaking up of form and the transformation of the figure. In her work, moments of escalation are juxtaposed with a relativisation of time through a suspension of dynamic processes.

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