Ecology of painting refers to being embedded as a painter into the history of painting, as well as painting being embedded in language. Christian Vetter presents in his first solo show at Super Dakota an ensemble of paintings breaking away from his previous works into a free structure of lines and colors.
The paintings are evolving constantly and fluidly, with one leading to another, creating a body of works in flux. This corpus is unified in one image defined by decisive gestures that divides the space at the same time as it connects opposite areas. The image itself therefore creates a determined space for the mind to inhabit and complete.
“The beauty is not in the rose, the beauty is in your mind”
– Agnes Martin
Analogical to the painting, the body as a membrane rather than a vessel connects physical and mental spaces.
It is an accumulation of matter that belongs clearly to the physical world, as it connects us with every other thing or being in this world. Our senses can equally perceive physical events as they turn around 180 degrees and place a light in the vast dark space of the mind. One of the means for this is painting. It is both, physical and mental at the same time. One can also call it the trace of the mind left behind in the infinitely dense material world.
The painting is still a physical object, an image captured within the boundaries of the surface. The frame marks
a short interval between the precedent and the following painting, a moment of (self-)reflection and (self-) awareness. “It is more important to know and understand one’s neighborhood than claiming a singular position”. Following this stance, Christian Vetter places the viewer at the center point of the exhibition, aiming to immerse him into an imaginative space of no structural reference but the ecology of painting.