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Walter StroblBridges2018
2018
About the Item
Work
Strobl’s painting is also reminiscent of the constructed nature of the world in general: his cityscapes, pictures of rooms and passages subtly indicate that we have always been moving through arranged realities. “A city or a river in a river bed is actually also a form of an absurd still life,” says the painter, who looks at this reality with the relentlessness of a Giorgio Morandi. The human being in Walter Strobl’s pictures, in turn, appears squeezed into an artificially created narrowness. His, as he calls them, “thrown”, they are ultimately creatures who have to conquer the last freedom for the physical with the power of despair: here every movement is opposed to a physical limit.
Strobl’s pictorial spaces always refer to the result of human intervention. The person does not necessarily have to show up in the pictures. Man, however, has always left visible traces, marks of his actions. Strobl likes to call his compositions “Environments”. Boundaries between the living and inanimate worlds actually become obsolete in these environments.
The sophistication of Walter Strobl’s worlds of images lies in the staging of a reality that is sometimes taken in almost casually. In its roof landscapes, construction cranes or antennas are just as much a part of the inventory as the classic elements of a city landscape that are often referred to as “picturesque”. The artist recalls the constant interventions that humans carry out in the world – and Strobl’s painting takes a look at everything together: the formed, seemingly finished reality, the open wound as well as the scaffolding. Ultimately, there is no object unworthy of the image, but only elements in the image space with which one has to deal with in terms of content and form.
Gerald Heidegger
- Creator:Walter Strobl (1968, Austrian)
- Creation Year:2018
- Dimensions:Height: 9.85 in (25 cm)Width: 39.38 in (100 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Wien, AT
- Reference Number:1stDibs: LU178229939782
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