So fully are these works expressive of a natural life force, that one seems to be peering through a microscope at patterns of bacteria, spontaneously organising, or tracking the drift of protein strands, or counting the layers of history in an ice-core, in the striations in a cliff face, or the rings of a felled tree. It is captivating, and at first, indefinable.
And then, dancing with the bacilli, and tangled in the kelp fronds, are bare, man-made marks in biro; wiry, almost awkwardly insubstantial in comparison. Yet they reveal the truth of each gesture; capricious cat scratches, jerking free-jazz rhythms, transcendental repetitions and barbed conversations; all musical and urgently alive.
Those marks are pressed through the paper, into a thick bed of oil paint, and so, become intensified, encrusted by mineral weight and slow grease. A dialogue between swift action and laden consequence unfolds, and refolds.
Thomas Gosebruch was born in 1951, in Munich, Germany and now lives and works in London. He studied Painting at HFBK, Hamburg (1976-79), an MA in Printmaking at HFBK Braunschweig (1981), Painting at The Royal College of Art (1984-85) and a Ceramics Diploma at City Lit (1999-2001).
He has recently shown in group exhibitions at Galerie Florian Sundheimer, Munich (with Thomas Bechinger, 2016) and the Museum of Xi’an Academy of Fine Art, China (British Contemporary Drawing, 2015 ).
His work is held in the collections of The British Museum, The Victoria and Albert Museum and several German museums.