Norbert Frensch

Norbert Frensch, KTL(F)1 10, 2010, Öl auf Leinwand, 190 x 250cm
Norbert Frensch, KTL(F)1 10, 2010, Öl auf Leinwand, 190 x 250cm 1/10
Norbert Frensch, KTL 1 09, 2009, Öl auf Leinwand, 170 x 210cm
Norbert Frensch, KTL 1 09, 2009, Öl auf Leinwand, 170 x 210cm 2/10
Ausstellungsansicht, Foto: Tobias Roch
Ausstellungsansicht, Foto: Tobias Roch 3/10
Norbert Frensch, H1 11, 2011, Öl, Dammar und Acryl auf Leinwand, 190 x 240 cm
Norbert Frensch, H1 11, 2011, Öl, Dammar und Acryl auf Leinwand, 190 x 240 cm 4/10
Norbert Frensch, KA 3 09, 2009, Öl, Dammar und Acryl auf Leinwand, 40 x 50cm
Norbert Frensch, KA 3 09, 2009, Öl, Dammar und Acryl auf Leinwand, 40 x 50cm 5/10
Ausstellungsansicht, Foto: Tobias Roch
Ausstellungsansicht, Foto: Tobias Roch 6/10
Ausstellungsansicht, Foto: Tobias Roch
Ausstellungsansicht, Foto: Tobias Roch 7/10
Norbert Frensch, G HH 1 09, 2009, Öl auf Leinwand, 190 x 570cm (dreiteilig)
Norbert Frensch, G HH 1 09, 2009, Öl auf Leinwand, 190 x 570cm (dreiteilig) 8/10
Norbert Frensch, HH L4 09, 2009, Öl und Dammar auf Papier, 70 x 100cm
Norbert Frensch, HH L4 09, 2009, Öl und Dammar auf Papier, 70 x 100cm 9/10
Norbert Frensch, HH L3 09, 2009, Öl und Dammar auf Papier, 70 x 100cm
Norbert Frensch, HH L3 09, 2009, Öl und Dammar auf Papier, 70 x 100cm 10/10

Norbert Frensch follows painting to its borders of visibility in his work. From oil and dammer he is, since 1992, creating black, deeply mirroring spaces of image, in whom, not before examining thoroughly, the plastic form of a silverly shimmering metallic shell appears. He thus makes painting itself the actual subject of his work.

Through minimal changes of light conduction on the border of the vessel or in the inner, he extends the possibilities of pictoral representation and therewith demands the contentrated view of the observer. The perception itself as an concern becomes center of his painting practice. Also the time as a function of natural light while perceiving the work plays an important role. Similar it is with his grey series, begun in 2004. Here Frensch limits himself aswell to few motifs. On the paintings of one work series alternately light and dark colour stripes are made visible, who direct light and shadow in meditative paths. In his flat spread landscape pictures he however goes into the shades of the non-colour grey.

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