Hermann Lederle - PIXEL PAINTING

Lederle’s painting evoke a variety of associations based on an elementary, geometrical vocabulary: circles, grids, squares and stripes. Then there is also a representation of figurative content.

_'DAWN' from the Pixel series

THE AMBIGUOUS PRESENCE

Lederle often hides figures within the larger works. It provides history, a timeline. The mélange of the material oil paint set against the gold leaf is what gives it its vicissitude.

_MEDIA RARE GALLERY EXHIBITION 2001, 'GRACE' from the Pixel series with Majorie & Barbara Bach, Ringo Starr and Hermann Lederle

TRANSCENDENCE OF PIXEL

The PIXEL series constantly plays with form and duality of superimposed layers of varying focal lengths rendered subject matter. The construct aims to nonchalantly free its spectator of foreordained conception of what one chooses to see.

_'FIRST IMAGE', 'MOCKMUTAUL' and 'MEMORY'

THE WORKS

BLUE CIRCLES
oil on canvas, 66 by 66 inches (168x168cm), 2001
BAZLEN COLLECTION SWITZERLAND

GRACE
oil on canvas, 48 by 48 inches (122x122cm), 2000
RINGO STARR COLLECTION

FLOWER TARGET
oil on canvas, 66 by 60 inches (168x152cm), 2001
BAZLEN COLLECTION SWITZERLAND

The painting titled ‘Flower Target’ might be one of the classic pieces by Hermann Lederle were he is experimenting with the concept of dematerialization, proclaiming that painting should avoid any references to experience outside the material presence of the work itself, but simultaneously rebelling against these accepted rules. Instead of subscribing to conventional wisdom of non-representational formalism, he challenges a need to acknowledge that the creative processes were related to content.

Lederle’s painting evokes a variety of associations based on an elementary, geometrical vocabulary: circles, grids, squares and stripes. Then there is also a representation of figurative content. The simplicity of the forms is played down by a deceptive form of nonchalance. The contours are not clearly defined. Amorphous forms appear to melt into each other like paraffin. Blots of color can be discerned, sharp edges percolate for no apparent reason, and the anatomy of the brushstrokes is always discernible.

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DOG WALKER
oil on canvas, 66 by 68 inches (168x173cm), 2001
VELEZ SILVERMAN COLLECTION

DAWN
oil on canvas, 50 by 38 inches (127x97cm), 2000
WAGNER COLLECTION BEVERLY HILLS

STATE OF ART
oil on canvas, 50 by 42 inches (127x97cm), 2000
PRIVATE COLLECTION

UNITY
oil on canvas, 50 by 38 inches (127x97cm), 2000
RINGO STARR COLLECTION

MOON LANDING
oil on canvas, 50 by 38 inches (127x97cm), 2000
PRIVATE COLLECTION

WAVE
oil on canvas, 50 by 38 inches (127x97cm), 2000
PRIVATE COLLECTION

CROWN
oil on canvas, 50 by 42 inches (127x107cm), 2001
PRIVATE COLLECTION

TRIPLE FISH 2
oil on canvas, 30 by 30 inches, 2000
GABOR CSUPO COLLECTION SANTA MONICA

MOCK MUTUAL
oil on canvas, 50 by 42 inches (127x107cm), 2001

FIRST IMAGE
oil on canvas, 50 by 42 inches (127x107cm), 2001

MEMORY
oil on canvas, 50 by 42 inches (127x107cm), 2001

Lederle often hides figures within the larger works. It provides a history, a timeline. He builds the painting up, from the very first stroke to the very last, while leaving behind evidence of each previous stage so that it is possible to see how the painting has evolved. Each painting encompasses a span of time, intimating a gradual unfolding, the antithesis of a photograph which captures an instant.

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ROCK
oil on canvas, 50 by 42 inches (127x107cm), 2000

PELICAN
oil on canvas, 48 by 48 inches (122x122cm), 2002
PRIVATE COLLECTION

BLUE 99
oil on canvas, 50 by 38 inches (127x97cm), 2001
PRIVATE COLLECTION

RED 99
oil on canvas, 50 by 38 inches (127x97cm), 2001
PRIVATE COLLECTION

CAVE
oil on canvas, 50 by 38 inches (127x97cm), 2001
PRIVATE COLLECTION

CAMEO
oil on canvas, 50 by 42 inches (127x107cm), 2001
N. HILL COLLECTION LOS ANGELES

TURN
oil on canvas, 48 by 48 inches (122x122cm), 2002
KNOLL COLLECTION

FEVER
oil on canvas, 48 by 48 inches (122x122cm), 2002
PRIVATE COLLECTION

CLONE
oil on canvas, 48 by 48 inches (122x122cm), 2002
on loan at ROBERT BOSCH KRANKENHAUS STUTTGART

ICED
oil on canvas, 48 by 48 inches (122x122cm), 2002
BAZLEN COLLECTION SWITZERLAND

ASCEND
oil on canvas, 50 by 38 inches (127x97cm), 2002
BAZLEN COLLECTION SWITZERLAND

TEMPEST
oil on canvas, 48 by 48 inches (122x122cm), 2002
BAZLEN COLLECTION SWITZERLAND

VOYAGE
oil on canvas, 48 by 48 inches (122x122cm), 2002

A painting for the purpose of itself. This work, part of the PIXEL series, was created out of the process of painting, litterally the medium itself, and much less out of a perception of concepts or constructs of abstractions. It is a sensory exploitation of material and matter. Any preexisting cultural themes and theories aside, the work here merely presents and does not intend to explain cultural, aesthetic norms.
The painting is an elemental structure occupied by visual instances that declare their ambiguous presence: superimpositions and divisions that are fundamentally unimportant - the surface divided into squares - produced within the material itself and not overlaid artiﬁcially.

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