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Winding paths of abstraction
About Andreas Kempe's series "next to nothing"
The network that Andreas Kempe creates in his etchings follows two essential principles that oppose each other: parallel lines that run straight and vertically through the pictorial space on the one hand and intertwined lines on the other that dynamically move across the pictorial surface draw.
The vertical line resolutely follows the conditions imposed by the rectangular frame of the picture format. It conveys a certain kind of discipline, a consciously chosen attitude. The intertwined lines, on the other hand, glide across the surface as if they didn't want to be subordinate to any instructions. The movement of the body is expressed in them when, following its natural anatomical possibilities, it revolves around centers in the interplay of levers and joints of the bone structure. The flowing loops that form freely in Kempe's graphics also illustrate this by swelling and decreasing in strength. As the stylus leans into the curve, it pushes deeper into the plate, as if reinforced by the centrifugal force of motion, and so the track widens, imparting a higher energetic charge. Kempe tests the expressiveness of these two graphic possibilities by juxtaposing them in a series entitled "next to nothing". This happens in various forms: separately on individual sheets or by appearing together in one picture. He uses the possibility of printing two etched plates on top of each other. The drawings, which were originally created on different surfaces, then overlap. Depending on how we look at them, the gray values that result from the graphic structures come together, or we separate them from each other according to the principles of graphic movement on which they are based.
Forms of identification are involuntarily mixed into the reception: the picture becomes a mirror image of the body of the person standing in front of it. The vertical line is an expression of the upright posture. With the intricately drawn line, the process of identification is more complex. It arises from the agglomerations. The density of the lines and their width - and thus the pressure with which they were drawn - is stronger in the middle of the pictorial space than towards the edge. The concentrated zones tend to claim to be interpreted as subjects.
Two principles of the viewer's subject identification thus appear separated in the two graphic structures: standing upright and the spatial closedness of the representational.
Beyond this access and depending on the viewer's disposition, the lines remain what they are, color printed on paper.
The works are etchings. The base plate on which Kempe engraved the drawings is made of acrylic glass. This material has its own characteristics compared to the copper plates commonly used. It is softer and easier to work with. Especially with the considerable dimensions, the stylus can glide more easily over the surface and leave its mark. In accordance with the drypoint etching process, the plate is immediately processed manually. This creates specific lines that appear softer than those on printing plates that have been processed in an etching process, for example. In addition to the etching needle, Kempe decided to use a tool for this work that allows him an even easier gliding movement: he uses a rotary milling machine, as is also used in dentistry, and which, depending on the speed when engraving the plate, is very leaves an independent trace that sometimes appears as dotted and dashed or even runs through the picture field like an ornament, which consists of individual spots held together by the smallest lines.
The summary view of the lines standing next to each other resolves them as individuals in a field. This is the function of hatching, which creates tonal gradations in the graphic. Depending on the thickness of the line and the density of the lines, the field so designated appears lighter and then darker. Kempe emphasizes this function by not leaving a plate tone when inking for printing. The paint is wiped into the cracked burrs and completely removed from the bare surface. This results in a sobriety of the field beyond the emotional charge of the intertwined lines.
Due to their regularity, Kempe's network of lines can be understood as a field in which one can also follow the course of individual lines. The view gets lost in the thicket of drawings. This connects the etchings with works by the artist from 2013-2015, which bear the title "Waldinneres". Kempe has overdrawn pigment prints with close-ups of trees and bushes, small groups of trees and dense foliage with a network of lines that transform the basic motif. The uniformity of the foliage and the free hatching of the pencil complement each other and explore their formal capacities in interaction. This creates volumes of treetops and spatial depth that leads into the interior of the drawing. On the one hand, Kempe combines the romantic view of the forest as a place of longing and a representative of nature with, on the other hand, forms of modern abstraction that question the principles behind the natural appearance of things.
Andreas Kempe made the etchings during a travel grant in Thessaloniki in 2014 and printed them in 2015 after his return to Dresden. In doing so, he used the possibilities of the graphics workshop that existed on site and questioned the medium from its simplest structure, the relevance of the line.
dr Holger Birkholz
Intricate Paths of Abstraction
On Andreas Kempe's Series“next to nothing”
The network that Andreas Kempe creates in his etchings follows two essential principles that overlap one another: on one side, parallel lines, which run straight and vertically through the pictorial space and on the other side, intricate lines that dynamically move across the pictorial surface.
The upright line decisively follows the requirements predetermined by the right-angled frame of the format. It communicates a certain kind of discipline, a consciously chosen stance. The intricate lines, in contrast, glide over the surface, as if they don't want to subordinate themselves to any instructions. These lines express the movement of the body, which that revolves around central points according to its natural anatomical possibilities with the interplay of the skeleton's levers and joints. Moreover, the flowing loops that form freely in Kempe's graphic work illustrate this, ebbing and bulging in intensity. When the engraving needle sits in the curve, it presses more deeply into the plate, the pressure increased by the centrifugal force of the movement; in this way, the trace becomes larger and conveys a higher energetic charge. Kempe tests the expressive power of these two graphic possibilities by placing them across from each other in a series titled “next to nothing.” The testing happens in various forms: separated on individual sheets or by appearing together in one single image. For the latter purpose, he uses the possibility of pressing two engraved plates on top of each other. The drawings that were originally created on different surfaces now overlay each other. Depending on how we look at them, the gray tones, which are produced by the graphic structures, merge – or we release them from each other according to the underlying principles of graphic movement.
Inevitably, forms of identification come into play during the reception process; the image becomes a reflection of the body of the person who stands before it. The vertical line is the expression of an upright stance. The process of identification is more complex when it comes to the intertwined lines. They yield to congestion. The density of the lines and their width - as well as the pressure with which they are drawn - is stronger in the middle of the pictorial space than at the edges. The congested zones tend to challenge the viewer to interpret them as a specific subject. Two principles of the viewer's identification with the subject appear separated in the two graphic structures: the upright stance and the spatial enclosure of the object world. Beyond this grasp and depending on the disposition of their viewer, the lines remain what they are - color printed on paper. These works are etchings. The plate on which Kempe has inscribed his drawings is made of acrylic glass, a material that exhibits peculiarities compared to the typically-used copper plates. It is softer and easier to work on. Especially when it comes to larger dimensions, the stylus can move more lightly over the surface, leaving its trace. And like in dry-point etching, the plate is worked directly by hand. This means that specific lines emerge, which seem softer than those on printing plates that are worked in the etching process. In addition to the etching needle, Kempe has decided to use a tool for this work that allows for an even lighter, gliding movement; he employs a rotary cutter that is normally used in dentistry. Because of the speed at which the plate is engraved, the machine leaves behind very unique traces, which sometimes appear as dots or stippling or sometimes move across the pictorial field like an ornament made up of individual spots, which are held together by the smallest lines . A summary glance at the adjacent lines dissolves them as individuals in a field. That is the function of hatching, produced by the print's gradations in tone. Depending on the strength of the stroke and the thickness of the lines, the designated field sometimes seems lighter and then darker. Kempe emphasizes this function by not allowing a surface tone to remain during the inking for the print. The color is wiped into the torn lines and completely removed from the bare surfaces. In this way, beyond the emotional charge of the intricate lines, the image surrenders to the abstinence of the field.
Kempe's networks of lines can - in their uniformity - be understood as a field, in which the viewer can also follow the course of the individual lines at the same time. In the process, the gaze loses itself in the density of the drawing. This aligns the etching with the artist's work produced between 2013-2015, under the title “Forest Interior.” Kempe drew a net of lines over the carbon prints of close-up views of trees, bushes, little groups of trees and dense vegetation, changing the original motifs. The uniformity of the foliage and the loose hatching of the pen complement one another, exploring the capacities of their forms in their interaction. In this way, spatial depth emerges from voluminous treetops, leading into the interior of the drawing. Kempe binds together a romantic view of the forest as a place of yearning and the representative of nature on the one side with forms of modern abstraction, which question the effective principles behind the natural appearance of things, on the other side.
Andreas Kempe produced the etchings during a travel grant to Thessaloniki in 2014 and printed them after his return to Dresden in 2015. In Dresden, he used the possibilities of the local “Graphic Workshop,” interrogating the medium's most elementary structure, investigating the relevance of the lines.
dr Holger Birkholz // Translation Jessica Buskirk