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9/7/2004

Rosa M. Hessling/Christoph Dahlhausen

Conny Dietzschold, Sydney

Rosa M. Hessling 'Paintings and Objects'
Christoph Dahlhausen 'Installations'

OPENING SATURDAY 10 JULY, 4 - 6 PM - both artists will be present at the opening



ROSA M. HESSLING • luminious manifestations on aluminium

Rosa M. Hessling does not work with colour, but rather on colour. She uses special pigments that are more than just colour. As a rule they bear within them a corresponding complementary colour, which becomes visible or changes in quality depending on the standpoint of the viewer or the incident light. (Peter Volkwein 2002) Rosa M Hessling addressed the question of immaterial light in her early reliefs. The result of coloured shadows and diffuse blends of colours in a constant mode of change, producing wave upon wave of colour modulations, can be seen along the protruding vertical lines between the elements lined up next to each other. The cool, smooth aluminium, although no longer visible as such, remains true to its metal nature - even if these now have soft, silky surfaces.
The surface condenses layer by layer, immaculately following the flow of the brush strokes to become an invisible network of dissolving, constantly changing lines. Rosa M Hessling raises colour to a state of independence, thereby revealing the intrinsic value of colour itself.
The technical perfection that goes into her works together with the vast experience she has using colour allow her works to attain a quality that goes beyond the image with the optical effects. (Anne Rossenbach 2002)



CHRISTOPH DAHLHAUSEN • light as colour and colour as light

The photography-based works by Christoph Dahlhausen manifest a material-bound treatment of colour, in which the artistic handwriting recedes behind the technical to reveal complex aesthetic processes. The technique of photography liberates colour from its traditional material and formal conditions, disembodies and delimits it. The works with glass present a preliminary culmination of Dahlhausen's venture into the realm of the light-image. The introduction of glass emphasizes and extends the theme of enlightenment that is the basis of the artist's photographic engagements.
Like the photographic paper the glass is activated by light. Its transparency determines its functionality as much as its mysticism. Photography and glass are media of transgression and transformation. Just like Dahlhausen liberates photography from its representative function, does he free glass from its originally architectural function as window. Both materials are removed from their traditional context to be joined in autonomous, abstract artworks, whose motivation is the philosophical striving for revelation.
(Claudia Schmuckli 2000)

Image:
Rosa M. Hessling 'Paintings and Objects'


Conny Dietzschold Gallery Sydney
2 Danks Street
Waterloo 2017 Sydney, NSW, Australia

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