The action leaves it’s mark
In Peter Grosz’s pictures, which resemble layers of material, everything is needed, found accessible and utilized. Within the composition lies an unmistakable significance. Nothing appears to be even or straight. Glued on things are painted over, removed, then torn off to be used somewhere else or deliberately destroyed.
Each of these actions leaves visible and intended tracks, which inscribe the surface of the picture, contributing a share to it. Thus, through topographic relief the pictures evolve, primal and fundamental. These layers of material interfere with each other in groping, seeking lines, which build themselves up, self-running and writing, self-propagating they hesitantly search for a way forward.
These realms of experience and occurrence, consisting of lines and materials embody their own inherent history. With their discrete statement, just as color, in no service of any depiction, they stand for an invention of memory.
In Peter Grosz’s pictures, which resemble layers of material, everything is needed, found accessible and utilized. Within the composition lies an unmistakable significance. Nothing appears to be even or straight. Glued on things are painted over, removed, then torn off to be used somewhere else or deliberately destroyed.
Each of these actions leaves visible and intended tracks, which inscribe the surface of the picture, contributing a share to it. Thus, through topographic relief the pictures evolve, primal and fundamental. These layers of material interfere with each other in groping, seeking lines, which build themselves up, self-running and writing, self-propagating they hesitantly search for a way forward.
These realms of experience and occurrence, consisting of lines and materials embody their own inherent history. With their discrete statement, just as color, in no service of any depiction, they stand for an invention of memory.
Margarita Jonietz
Museum für Neue Kunst Freiburg
