In a duo show, the paper and canvas works of Sascha Brylla and Robert Kraiss bring together positions that operate with independent methods of surface treatment of the image carrier.
Sascha Brylla’s colors are applied in several, evenly applied layers of paint with egg tempera. In a subsequent ablative process, the motif is worked out: partial areas of color are successively removed and linear depressions are scratched in at different levels of height.
In an experimental approach to drawing, Robert Kraiss uses various methods of distancing himself from the work of art. In addition to the involvement of assistants to implement his elaborate drawing technique, there are experiments using machines such as screwdrivers to work on the surface of the paper. The result is irregularly thick applications of colored pencils as well as roughenings and openings of the paper.
Both, very different processes result in a dissolution of the motif in the surface. Robert Kraiss’s fast, vibrating and forceful technique produces drawings that are close to the formal dissolution of Impressionism. In a lengthy, filigree process, Sascha Brylla creates an allover décor that evokes associations with William Morris’ wallpapers.
In their choice of subject matter, both positions move between ironic distance and deliberate apparent naiveté of the motif.