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Christina GschwantnerContemporary Pink Pastel New Abstract Dots Colors Artist Christina Gschwantner2024
2024
About the Item
Colt Seager (b. 1993) is an American painter and sculptor based near Chicago, IL. Drawing inspiration from the inherent holiness and tranquility of the natural world, Seager’s work is deeply rooted in a process-based approach that reflects his reverence for the environment. The textures, layers, and expressive mark-making techniques he employs are a direct and visceral response to the landscapes of the Midwest. Through his art, he explores the dynamic interplay between process, form, and space, creating intuitive compositions that balance formal and organic elements seamlessly.
Seager’s approach to art is both methodical and spontaneous, allowing his works to evolve naturally over time. He emphasizes the importance of construction and deconstruction in his creative process, believing that the true essence of his art comes to life through this duality. His works are an invitation to viewers to enter a contemplative space, where abstraction and form blend harmoniously.
Seager states, "I see my work as it evolves naturally—it develops through construction but comes alive through its deconstruction. My goal is to offer an invitation into the thin place through abstraction, contemplation, exploration of form, and the rhythm of making marks—allowing one mark to carry into another—and in so doing, allow for a holy space where the divine transcends closer to earth."
Through this philosophy, Seager aims to create artworks that resonate on a deeper, almost spiritual level, encouraging viewers to find their own connections to the divine and the natural world. His pieces are not just visual experiences but meditative journeys that invite introspection and a deeper appreciation of the beauty that surrounds us.
Christina Gschwantner combines contrasting art movements such as Art Informel and Minimal Art. She succeeds in depicting and creating her very own view of the world. A world that, surprisingly, makes the viewer feel that it is a part of themselves. Her rhythmic scenarios seem strangely familiar and appear to rise up from deep within the storehouses of consciousness. They create a feeling of wellbeing and joy, but also an interested, almost philosophical thoughtfulness.
There are two different active principles in her entire oeuvre. The haptic-gesturalpainterly (informel) and the formal-structural (Minimal Art). At the beginning of her artistic career, both components emerge sporadically from the pictures, but in the course of her creative periods, both principles become more concrete and sharper and appear to stand separately side by side and yet function as a unit. And that is unusual and fascinating, because this clear separation of the painterly and the formal leads to a structural, strict composition that allows the artist's free informal painting to shine all the more clearly. One is almost inclined to conclude that the matrix-like, fixed arrangement of her painting elements means that each element has to assert
itself against the others in order to "appear" "representative" in the picture. We know from real life that this can lead to strange results. But we first have to understand what this means for the artist. Because the task of giving each element its proper place and meaning in a figurative sense requires painterly and gestural effort.And it is understandable that something quickly changes in such a structure when a component changes its "mood“. For this reason, her paintings are alive - when one is "finished", it is ultimately only a snapshot. The result is more than just a picture - it is actually a social structure - a relationship painting - in Christina Gschwantner's case usually a positive, even happy one.
Christina Gschwantner's intensive and long-term preoccupation with the "relationship matrix" theme has led to an increasingly focussed, reduced and high-contrast visual language. This becomes clear when looking at her work as a whole.
The artist herself divides her pictures into different cycles, which can be used to recognise her creative periods.
From the still figuratively illustrative dream creatures and things pictures, which exist both as individual creatures and in matrix form, she clearly focusses her formal language with the cycle of RUNDLINGE. Here the circle becomes the only formal
element and comes to life through its varied design and the artist's congenial layering technique. For the first time, the matrix structure clearly comes to the fore and becomes an experimental surface in the painterly network of relationships and the tension between the significance of haptics and position. Everything figurative disappears, the reduction to the essentials, the essence of painting, namely the brushstroke and the color come to the fore and are varied with each new work, so that from polka to polka one is able to immerse oneself in a completely new world.
Her brushstrokes develop more and more character and literally transform into abstract individuals with almost human features.
The artist's current paintings are characterised by free, wild brushstrokes and the impasto, sometimes thick application of paint. In both the individual paintings and the matrix works, you can sense how the individual strokes are literally fighting for their "place in the sun“. You can feel how the painter struggles to become the master of this endeavour of her own creations in a furious painting process. And she succeeds
in doing so in an incomparably unique way from picture to picture. It is like testing social interaction. Small nuances such as the distance between the individual strokes or the angle of inclination, overlapping, structure and pattern, luminosity, rhythm ... create a completely new narrative each time.
Konsum163, 2023
- Creator:Christina Gschwantner (1979, Austrian)
- Creation Year:2024
- Dimensions:Height: 40.56 in (103 cm)Width: 34.26 in (87 cm)Depth: 1.58 in (4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Barcelona, ES
- Reference Number:1stDibs: LU1915215729802
Christina Gschwantner combines contrasting art movements such as Art Informel and Minimal Art. She succeeds in depicting and creating her very own view of the world. A world that, surprisingly, makes the viewer feel that it is a part of themselves. Her rhythmic scenarios seem strangely familiar and appear to rise up from deep within the storehouses of consciousness. They create a feeling of wellbeing and joy, but also an interested, almost philosophical thoughtfulness. There are two different active principles in her entire oeuvre. The haptic-gestural painterly (informel) and the formal-structural (Minimal Art). At the beginning of her artistic career, both components emerge sporadically from the pictures, but in the course of her creative periods, both principles become more concrete and sharper and appear to stand separately side by side and yet function as a unit. And that is unusual and fascinating, because this clear separation of the painterly and the formal leads to a structural, strict composition that allows the artist's free informal painting to shine all the more clearly. One is almost inclined to conclude that the matrix-like, fixed arrangement of her painting elements means that each element has to assert itself against the others in order to "appear" "representative" in the picture. We know from real life that this can lead to strange results. But we first have to understand what this means for the artist. Because the task of giving each element its proper place and meaning in a figurative sense requires painterly and gestural effort.And it is understandable that something quickly changes in such a structure when a component changes its "mood“. For this reason, her paintings are alive - when one is "finished", it is ultimately only a snapshot. The result is more than just a picture - it is actually a social structure - a relationship painting - in Christina Gschwantner's case usually a positive, even happy one.
Christina Gschwantner's intensive and long-term preoccupation with the "relationship matrix" theme has led to an increasingly focussed, reduced and high-contrast visual language. This becomes clear when looking at her work as a whole.
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