NEON BLACK, 2019-20
Digital pigment print
on Hahnemühle Fineart
59,4 x 42 cm
ed. 3 + 2 AP
View:
ready ready made,
Neuer Kunstverein Aschaffenburg, 2021
In the center of a vaguely diffuse pictorial space is a strangely linear and skeletal arrangement, consisting of various elements that are only recognizable as everyday objects at second glance. This is overdrawn with gestural and intensely colored neon green and blue lines, whose luminous colors contrast with the warm white of the FineArt paper on which the genuinely digital file of this pigment print finds its materialization. Through the photographic reduction of the originally colored objects into a black-and-white photograph, the diverse objects are transformed into a sign-like overall structure. In the process, the materiality and form, the objects captured by the light beam from the camera, shape the linear character of the structure now fixed on a two-dimensional surface. These works, which in their hybrid character are reminiscent both of photographs and, as it were, of drawings and present us with a sculptural structure, are to be seen as the result of various working steps of collage-like and transformative work, which in its execution as a pigment print is condensed onto a time and space level. The graphic constellation of these objects is reminiscent of construction plans that contain inorganic-crystalline as well as organic-amorphous forms. Blueprints that also recall bodily forms make the scaffolded counterpart appear as a cyborg, especially since objects such as diving fins and gloves are also incorporated. This process of incorporating techne in a deeper sense is to be understood as a multi-layered process that takes place on several levels of work genesis in Britz’s oeuvre. Through numerous veils, such as of analog and digital, of subject and object, of material and immaterial, natural science and philosophy, a clear classification of the configurations that appear to us in the image is almost impossible. Rather, Britz’s adaptation of different working steps and media appears as a form of existential testing, in order to search for an existential content in the passage through all these transparencies.