Angela Flois, O.T. (Ausschnitt)
We are pleased to invite you to an exhibition of works works by Angela Flois and Fritz Pumm.
Opening: City Councillor Dr. Günter Riegler and Mag. art. Wolfgang Fuchshofer
Curated by Irmi Horn.
It is easy for someone to think of grey when hearing this title:
Grey is the term used to describe a colour stimulus that is darker than white and lighter than black, but produces little or no colour impression (colour valence).
Most people would probably think of grey as a mixture of black and white, but in fact grey can also be mixed by mixing complementary colours and primary colours. Grey is produced in additive and subtractive colour mixing when the proportions of the respective primary colours are equal, but the brightness is neither maximum (white) nor minimum (black).
White light consists of the full spectrum, i.e. white light contains all colours. With special light sources, however, it is also possible to produce light in the additive primary colours red, green and blue. These three coloured light sources can now overlap and thus mix “additively”.
In subtractive colour mixing, the individual light colours are not present, but only a white light. This contains the full spectrum, i.e. all colours are mixed in this white light. By means of filters, certain colour ranges are now “subtracted” from this white light. These filters are the colours as they are contained in printer cartridges and printed on paper or added to the material of an object, for example.
The colour grey is one of the achromatic colours and is often associated not only with wisdom but also with dignity and renewal, practicality, gloom, boredom, coolness but also mysticism.
Misty figures, such as ghosts or restless dead people, have the colour grey in many artistic representations. They are in a state between life (white) and death (black). The grey mist veils the clear colours of the sunny day and supports a mystical, “raptured” vision.
Grey mixed with the addition of a primary colour can be an excellent choice for shadows. Primary grey results from mixing the primary colours red, blue and yellow. Depending on the proportions in which the three colours are mixed together and which hues are used, a different primary grey will result. The beauty of a primary grey is that it consists of all three primary colours and thus looks harmonious next to any secondary colour.
In everyday language, a distinction is often made between three shades of grey: Light, Medium and Dark greys. Less saturated colours close to grey are designated with additions such as pale, light, whitish, pale, dull or dark, blackish. For different shades of grey with different colour tones, there are widely known, everyday names that identify the colours by comparison. E.G.:
Anthracite, a dark, warm grey. Especially for clothes or vehicles this colour name is used, as it is not jet black and thus associates the shine of anthracite charcoal.
Ash grey, the very whitish cold grey of wood ash.
Concrete grey, also cement grey, a distinctly yellowish, medium-light shade of grey.
Feldgrau, different shades of grey-green, colour designation of the uniforms of the German army from the early 20th century to 1945.
Dove grey, a blue-tinged medium grey.
Mouse grey, a visually neutral medium grey, in terms of sensation it is the “uncolour grey” par excellence.
Smoke grey, darker, slightly bluish nuances.
Slate grey, named after the shade of slate.
Silver grey, implies in its tone the iridescent metallic sheen of silver.
White is the lightest of all colours. Like black and grey, it is an achromatic colour. White is not a spectral colour, but is created by a mixture of individual colours that produce the same colour impression as sunlight.
For humans, the colour impression of white always occurs when a material reflects (or remits) light in such a way that all three cones in the retina of the eye are stimulated in the same way and with sufficiently high intensity.
White is usually associated in Western culture with concepts such as joy.
It also stands for innocence, purity and virginity. Since in former times great importance was attached to young women entering marriage untouched, the bride in our cultural circle traditionally wears white at her wedding. The Virgin Mary is also occasionally painted in white (with a blue cloak), especially in depictions of the Immaculate Conception.
In Judaism and as a liturgical colour in Christianity, the colour signifies holiness. The Holy Spirit is traditionally often depicted as a white dove.
The white unicorn – a mystical mythical animal that was symbolically equated with Christ in the Middle Ages – was also considered holy.
The colour white also stands for immortality and infinity.
It is also considered a royal colour. Thus the standard of the French king was a (plain) white banner. White dove The colour also stands for peace. Therefore, a white flag means: immediate stop of the battle, surrender, armistice or peace.
Buddhists wear white as a sign of mourning in contrast to Western culture where black is used for mourning.
In the German-speaking world, white is the colour of mourning in Sorbian tradition. The Sorbs (Upper Sorbian Serbja, Lower Sorbian Serby, especially in Lower Lusatia in German also Wenden, German obsolete or in the Slavic languages until today Lausitzer Serben) are a West Slavic ethnic group living mainly in Lusatia in eastern Germany.
In China, the colour is a symbol of old age, autumn, the west and deceitfulness (compare this with the Five Elements doctrine) and is used in off-white for mourning.
In Africa, the colour white has a prominent symbolism. In many places it stands for death; as body paint it is used to contact otherworldly spirits. In cosmogonic stories, termites, also called “white ants”, are considered the incarnation of the dead. Termite mounds are therefore associated with the underworld.
In politics: counter-revolution, anti-communism, e.g. colour of the opposition in Belarus (August 2020).
Black is the darkest of all colours and, like white and grey, belongs to the achromatic colours. The colour and brightness perception of blackness occurs in the absence of a visual stimulus, i.e. when the retina perceives no light waves or only light waves of low intensity in the visible spectrum.
A body has the “body colour” black if it reflects (almost) no light when illuminated with all frequencies of light; as a light colour, black is the non-emission of any light frequency.
Black stands for elegance, seriousness, truth, credibility and seduction. However, black can also be very dominant, gloomy and heavy. The colour black also stands for mourning and death, for the unfathomable and mysterious.
Many people associate the colour black with misfortune, forbidden things and injustice: black day, black magic, black sheep. The absence of light is like looking into nothingness, into the unfathomable depth of night. The colour black meaning does not only concede pessimistic associations, but also connotes positive consequences such as dignity, objectivity and functionality.
Night black, coal black or velvet black break through the radiance of any other colour. Black suits, costumes or dresses convey polish, exclusivity and worldliness. A gown with a white priest’s collar looks dignified and is considered a sign of humility.
The colour black, spiritually speaking, is the symbol of perfect seclusion, from which anything can arise in darkness. In the Bible, the colour black represents nothingness, which is given an orderly structure by light. The darkest of all colours also represents evil, from which demonic powers unfold. In European culture, the colour black is an expression of melancholy and hopelessness, but also of sophistication and charisma. The colour black significance in the Gothic scene expresses rejection of social norms. In Christianity, jet-black colours stand for death and mourning on the one hand, and for steadfastness and firmness on the other.
In German, there are many idioms that describe the colour energies. We can experience a blue miracle, score with a green thumb or be annoyed by black. The effect of the colour black can influence mood and well-being. While bright radiant colours inspire the mind, they can also create chaos in the mind. Spiritually, the colour black does not only have the character of depressiveness and dreariness. Rather, the dampening energy stands for unobtrusiveness, clarity and competence in a positive sense.
But actually, this exhibition is about this capturing of the colourfulness and its spellbindingness in the representation by means of reduced colouring as a final experience.
Like a summary of a day when night comes and the experience nevertheless shines colourfully in the darkness.
Just as a realisation contains all the components of its emergence, the reduced colouring helps the viewer to explore his or her own multifaceted world of experience and to interpret it in the picture.
If we transfer this insight to our understanding of our fellow human beings, our society, our fellow world, we can recognise in the diversity the chance not to see only black and white from the outset, not to be occupied and determined by bias, to think carefully before making an assessment or judgement.
Angela Flois’ oil paintings reflect structures that are located in the microcosm as well as in the macrocosm. – Worlds within and without – . From the grey pictures, colours develop into pure full-colour pictures, into colour explosions, which in turn give birth to new contexts. With the fine dynamic brush, spaces are created, which each viewer can
can engage with individually.
Mag. art. Wolfgang Fuchshofer
Biography Angela Flois, Dr.phil
Born in Grafendorf near Hartberg, East Styria.
Mus. päd. Realgymnasium with the School Sisters Graz – Eggenberg.
Teacher training, BE and museum education at the Pedagogical Academy of the Diocese in Graz – Eggenberg. Teacher training (painting) at the University of Art and Industrial Design in Linz.
Studied art history/sociology/philosophy at the Karl Franzens University in Graz.
Studied painting at the European Academy in Trier, Germany.
Internship and development of the Fronius Archive in the Neue Galerie, Graz; cultural management in various cultural associations in Graz. VS teacher in Radkersburg, Ratschendorf;
Art teacher at the Akademisches Gymnasium and WIKU Graz, at the BG/BRG Kapfenberg, BG/BRG Bruck and BG/ BRG Weiz.
Since 1980 exhibitions in Austria, Germany and Slovenia. 1982 Prize of the BMFUK, Art Prize Köflach
Exhibitions (selection)
2019
“Aus den Welten”, Atelier12, Graz
2019
DAY OF THE OPEN DOOR, (with Traude S. Mihalopulos and Barbara Hammer), Galerie am Lend, Graz, B
KLANGRAUM II, Bildungshaus Mariatrost, Graz, P
2018
PERSONALE, House of Literature Maribor, P
2017
KUGEL group exhibition, Galerie Centrum, Graz, B
2015
TEXT AND IMAGE JOURNEY
(with Lilli Voglsanger, Lis Gönitzer , Le sic Bruitage)
Frischehof, Leibnitz P
ARTISTS ABC, (with Barbara Hammer and Christine Kertz) ECML, European Centre for Foreign Languages, Graz B
10 YEARS styrianARTfoundation , Steiermarkhof, Graz B
2014
Benefit exhibition UZO EZI- School project in Africa
City Museum Graz, B
ES WUNSCHT, Christmas exhibition of Galerie Centrum, Graz B GLÜCK, summer exhibition of Galerie Centrum, Graz,B GARTEN DER TRÄUME
(with Barbara Hammer, Christine Kertz , Linhong Zhao)
Trakoscan, Varazdin, Zagreb, Croatia B
2013
O-TON, Christmas exhibition of Galerie Centrum, Graz, BOUQUET DES FEMMES, Galerie Centrum, Graz, B MEINE RÄUME – MEINE BILDER, AK Steiermark, Graz,
2012
Christmas exhibition, Centrum Gallery, Graz B
2011
ART & TEA FOR AFRICA, art on the gallery/ Andräkirche, Graz B
OFFENES ATELIER, Studio House of the City of Graz, P
2010
LIJALENT 2010 , International art colony, Maribor, Slovenia. B
STEIERMARK-GALERIE (on 300 advertising spaces in Graz), B
2009
SIGNS AND TRACKS, artists’ retreat at Stift Rein, –
styrianARTfoundation; Open Day, B Preview on ORF Styria, B
Exhibition at HYPO Steiermark, B
MALEIA’ S SPACES, Art University -KUG Graz, P
2008
850 years Grafendorf near Hartberg, B
2007
BODY IMPRESSIONS, Work -Art Gallery, ÖGB, Graz, P
OPEN ATELIER, Graz, P
2005/06
“…IN SLOW CIRCLES A BIRD…”
(m.Vilja Neuwirth, Reni Hofmüller, Wolfgang Fuchshofer), ESC, Graz, B KÖRPEREINDRÜCKE, Galerie Bergmann, Graz, P
OPEN ATELIER, Graz, P
2004
Rest. Esterhazy, Eisenstadt, P OFFENES ATELIER, Graz, P
2003
OFFENES ATELIER, Graz – Capital of Culture 2003, P 2002 HIMMEL HOCH – HIMMEL TIEF, ÖGB, Graz, B
Fritz Pumm, born 1956 in Fürstenfeld, Styria, spent his childhood in Kukmirn in southern Burgenland. His parents emigrated to Switzerland for a few years, the son stayed in southern Burgenland. In the open air, with a family friend, Fritz Pumm developed his passion for art and architecture. This is also reflected in his work. He went to school in Graz; attendance at art school was denied him, whereupon he began his artistic career purely self-taught. As an extreme endurance athlete and following his motto “art is endurance”, he created the basis for his artistic work with perseverance.
Alongside his job as an EDP operator and programmer, he ran his first studio and had his first exhibition in the Graz art café Schillerhof as early as 1982. As painting gradually took up more and more of his time, he gave up his day job and found a new place to live in a square farm in south-eastern Styria, which he had converted into a large studio. There, however, wellness tourism drove him away and in search of a quiet place for his artistic activities he found a suitable property in Neusiedl near Güssing, where he has now been working intensively for 10 years.
His painting is often monochrome and very reduced and he likes to be inspired by music or literature. He creates thematic picture cycles in oil on valuable handmade paper or canvas and Indian cotton fibre and often arranges his exhibitions according to the room as an installation.
His works have been shown several times at home and abroad. In addition, he is a sought-after exhibition designer who has been entrusted by renowned artists such as Günter Brus, Valie Export and Daniel Spoerri.
Fritz Pumm lives and works in Neusiedl near Güssing in southern Burgenland.
Alongside his job as an EDP operator and programmer, he ran his first studio and had his first exhibition in the Graz art café Schillerhof as early as 1982. As painting gradually took up more and more of his time, he gave up his day job and found a new place to live in a square farm in south-eastern Styria, which he had converted into a large studio. There, however, wellness tourism drove him away and in search of a quiet place for his artistic activities he found a suitable property in Neusiedl near Güssing, where he has now been working intensively for 10 years.
His painting is often monochrome and very reduced and he likes to be inspired by music or literature. He creates thematic picture cycles in oil on valuable handmade paper or canvas and Indian cotton fibre and often arranges his exhibitions according to the room as an installation.
His works have been exhibited
Wolfgang Fuchshofer, born 1964 in Graz.
The stage designer, painter and graphic artist
graduated with a diploma in stage design from the University of Music and Performing Arts in Graz.
He has designed stages at various theatres in Austria and Germany (Hanover, Munich, see Kulturserver Graz).
Further field of work: exhibitions, projects and workshops for airbrush at various schools.