Thomas Bayrle’s graphically covered bodies and objects are a world made out of dot and grid, cell and body. Superstructures spread like the fantastical porridge over cities and land, cell after cell, yet never the same, to form an exquisite “jelly” of monotony. The grid rules and connects everything. A continuum of backwards and forwards, up and down, through which a rhythm is formed. In Bayrle’s work nothing is ever definite, but always in flux. Chaos is organization, individual is collective, and the humming rhythm of the cities and machines is silent meditation.
In Strippenzieher, a series of works-on-paper, the background becomes the foreground. What was once hidden is illuminated. Formally a structural underpinning for historical works like Capsel or Madonna Mercedes, the Strippenzieher series has become a work of its own. Several individual hands are shown pulling printed pieces of Latex, acting as a community to make a body of work.
When I was working on the face of Mao – or the one of my mother I stretched a small image in 1000 different ways…
I said earlier – we always were working in a team – on an open photocopy machine – 6 hands were stretching pulling pressing strain little pieces of Latex – o boy
Thomas Bayrle, born in 1937, is a contemporary of Gerhard Richter and Sigmar Polke, and his work, like theirs, falls somewhere between Pop Art and Conceptualism. He is known for taking a wry look at late capitalist society and the role that the media plays in its machinations.
- Thomas Bayrle - Strippenzieher
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