Without a doubt, Florian Fausch’s pictures are utopian architectural landscapes whose rules work according to their own laws; they are places and non-Places at the same time that revolve around the concept of the image. Familiar and yet so foreign invite you to lose yourself in the pictorial space with your eyes wide open. In the deserted, enigmatic paintings and works on paper, there is not just one top and bottom, right and left, foreground and background.
Here interiors meet glass fronts, stairways meet high-rise facades, mountain ranges on potted plants. Landscape and interiors are fanned out and split, interlock with and into each other to create something completely new. Clearly delineated sharp lines define architectural elements that stand out loose again in non-representational motifs. This is how one is created simultaneity of different levels and painting styles.
Florian Fausch’s works settle in the border area between objectivity and abstraction. The angular shapes are reminiscent of the cutting techniques from collages or stencils for geometric compositions are used. To find the image, he uses the collage technique, but in a contemporary form. Magazines, computer games and the internet serve the artist with their gigantic image archives as a fundus. As a so-called “digital native” he goes not only in the searching for motifs on the internet, the electronic possibilities serve him completely of course also as a working tool in relation to the composition of the image partly created on the computer and in a further step onto the canvas or the paper is transferred. During the painting process, the fragments of the acquired with their own ideas; reality and utopia merge into a dynamic overall effect.
With Florian Fausch, architecture becomes an abstraction of colour. Spatiality and depth effect arise from the conscious use of an unusual, contrasting bright color palette, but also through the special painting style. He applies the oil paint in thin, transparent layers on top of each other, so that the different layers of the image become perceptible. To certain the screen still shimmers through and allows a glimpse of the painting ground to. Through the layers of paint with their voids, the picture becomes in comprehensible to his physicality. At the same time, it succeeds in Düsseldorf trained painter, with the composition of the picture an illusionistic effect generate so that actual and pretended space meet. His compositions show a specific interest in the fringes of the painting.
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