Jan Schmidt

Sägearbeit #1 (Materialvorrat), 2013, Holz, je 50 x 20 x 4 cm
Sägearbeit #1 (Materialvorrat), 2013, Holz, je 50 x 20 x 4 cm 1/11
Sägearbeit #1, 2013, Holzspäne, 20 x 25 m (Foto: Frank Pichler)
Sägearbeit #1, 2013, Holzspäne, 20 x 25 m (Foto: Frank Pichler) 2/11
Sägearbeit #3, 2015, Mamorstaub, 165 x 980 cm (Foto: Jens Weyers)
Sägearbeit #3, 2015, Mamorstaub, 165 x 980 cm (Foto: Jens Weyers) 3/11
Sägearbeit #3, 2015, Mamorstaub, 165 x 980 cm (Detail) (Foto: Jens Weyers)
Sägearbeit #3, 2015, Mamorstaub, 165 x 980 cm (Detail) (Foto: Jens Weyers) 4/11
Sägearbeit, #3 (Materialvorrat), 2015, 70 x 13,5 x 4 cm (Foto: Jens Weyers)
Sägearbeit, #3 (Materialvorrat), 2015, 70 x 13,5 x 4 cm (Foto: Jens Weyers) 5/11
Sägearbeit #3 (Materialvorrat), 2015, 70 x 13,5 x 4 cm (Detail) (Foto: Jens Weyers)
Sägearbeit #3 (Materialvorrat), 2015, 70 x 13,5 x 4 cm (Detail) (Foto: Jens Weyers) 6/11
Tod der Maria, 2011, Kreidegrund auf Eichenholz, 78 x 42 x 2,4 cm, Ausstellungsansicht Sammlung Alte Meister, Museum Wiesbaden (Foto: Frank Pichler)
Tod der Maria, 2011, Kreidegrund auf Eichenholz, 78 x 42 x 2,4 cm, Ausstellungsansicht Sammlung Alte Meister, Museum Wiesbaden (Foto: Frank Pichler) 7/11
Tod der Maria, 2011, Kreidegrund auf Eichenholz, 78 x 42 x 2,4 cm (Detail) (Foto: Frank Pichler)
Tod der Maria, 2011, Kreidegrund auf Eichenholz, 78 x 42 x 2,4 cm (Detail) (Foto: Frank Pichler) 8/11
Ausstellungsansicht „Heavy Strokes
Ausstellungsansicht „Heavy Strokes", Galerie Anita Beckers, 2016 9/11
Ohne Titel, 2016, Tusche auf Papier, 153 x 153 cm (Foto: Frank Pichler)
Ohne Titel, 2016, Tusche auf Papier, 153 x 153 cm (Foto: Frank Pichler) 10/11
Ohne Titel, 2016, Tusche auf Papier, 153 x 153 cm (Foto: Frank Pichler)
Ohne Titel, 2016, Tusche auf Papier, 153 x 153 cm (Foto: Frank Pichler) 11/11

A series of large-scale canvases focuses on the absolute reduction of its own. As in the laboratory Schmidt has dissected the inner workings of his medium and printed them onto the fabric. The colours are reversed. Patterns emerge, not much more and no less than composed deconstructions. It’s about the medium and less about a particular content, except possibly, less is more. Schmidt’s craquelés radiate a special fascination. Craquelés are cracks on the surface of paintings or varnishes. Often due to aging and influenced by climatic changes these fractures are signs of time, which dig into the material and then become independent. Schmidt transfers the networks of cracks in the surface of old masters occurred over the centuries into elaborately prepared white canvases, which correspond in size and material, to their role models.

Historical positions such as The Penitent St. Jerome and a Young Carmelite Monk by Fra Filippo Lippi, are however copied in a very personal way. Here too, the artist is interested in their materiality, and not in their content. The crackle is considered as a fingerprint of the Image, as an individual pattern, which has been created by chance. The filigree drawings document the physical condition of the painting. But at the same time Schmidt’s craquelés copies begin their own life, which is affected by their environment and makes them autonomous works of art.

For these perfectionist mechanical drawings Schmidt uses the rotational moment of an electrical drill in which he chucks different graphite pencils. Schmidt’s work is always about function, form and the passage of time.

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