Although working in two seemingly very different media - woven photography and ink drawings - the artists share a strong interest in design and fragmented, chaotic imagery. Both artists are inspired by architecture and the pulsating energy of the city, each representing this vision in their own way.
Klug weaves his noisy, oneiric photographs from countless wanderings through Berlin’s nights into three-dimensional objects, blurring and rearranging the images in a way akin to the process of remembering. He uses two identical prints of a photograph which he cuts into strips and manually interweaves. The result is a unique object that re-composes and transmutes the image with a plasticity and structure that plays with the viewer’s perception. In his latest series „Technocolor“ and „Mirage“, Klug emphasizes the material facets of the prints by pulling strips partly out of the woven fabric, allowing the paper to become a vivid sculpture and the image a breathing body. The dissolution into lights and colors, an integral component of his photographic work, contrasts with the objectification in the weaving process. The hybrid character of Klug’s weaves represent a coincidence of opposites and resolves the tension between image and body.
Becker’s graphical paintings use geometric lines and bright colors to express chaos and order. He strives for an organic synthesis, referencing architecture and abstract art.
According to the artist, chaos requires structure and design, and is visualized through several overlapping layers of painting on paper. The works express the “evolution of lines and energy” and result in vibrant atmospheres.
The layout of each image is defined by several layers. They vary depending on complexity, motif and colouring. The first layer is defined by thin lines which mark out surfaces and empty spaces, almost like an architectural floor plan. A line shapes, structures and separates. Every line is applied to the surface with a thin brass rod and ink – or drawn with a technical pen by hand or compass. During application, little droplets of ink roll off the metal, leaving gaps which are in turn divided by fine, technical pen-drawn lines. Almost like notes on a sheet of music, they turn into a visual score. When the lines join up or intersect, they create surfaces and axes – the score begins to sound. This is the foundation for the second creative layer: every surface is individually masked with tape, thereby creating straight, angular and inflexible shapes. Shades of colour, a combination of brush and printing techniques, and the use of metallic leaf create a surface structure that lends a three-dimensional, almost tactile quality to the rigid overall structure. The contrast of lines, fine dashes, straight or bent edges, soft colour gradients and various surface structures evoke a fragmented and deconstructed landscape, in which the viewer picks their own perspective. The choice of materials – ink and technical pen on matte, translucent drawing film emphasises this effect and gives the drawings a certain fragility. It is in the repetition and evolution of lines, dashes and surfaces that the search for structure, form and character continues.
Markus J. Becker studied design at the Bauhaus-Universität in Weimar. He gained practical experience in conceiving and developing his design aesthetic under the guidance of Professor Axel Kufus’s design studio and at the Studio Aisslinger. He has continued to explore and expand upon his drawing skills since studying at university. He has participated in exhibitions throughout Germany, as well as in Austria and Italy. Becker lives and works as a visual artist and designer in Berlin and Dublin.
Sebastian Klug studied architecture at the TU Cottbus and photography at the Neue Schule für Fotografie in Berlin. He has been in numerous group and solo exhibitions throughout Europe, as well exhibitions in the United States and Turkey. Klug lives and works in Berlin.
Special Berlin Art Week Hours:
Saturday 10-18 and Sunday 12-18