Tina Buchholtz

The end of the nineties marked a shift away from my erstwhile traditional portrayal of landscapes to usher in a phase of informal colour montages that provide a medium to indulge my fascination with colour phenomena to the full. Paintings of merging patches of colour give rise to layers in a sea of colour with deep intensity of expression. This process of dispersal and reattachment came about by chance. As time progressed, canvasses used became steadily larger.

This led to in-depth study of the life and works of Jackson Pollock, with whom I feel a close artistic affinity.

Since 2004, I have developed a technique in which I use various sizes of spatulas and spread the colours in a relief and montage form. The prominent feature is a colourfully scattered expression of rhythm and movement.

Since 2006, I have refined my methods of working: The work is performed using nothing more than the spatula blade. I press the blade in the paint and then immediately on the canvas, so that a fine line becomes visible.

This meticulous process is repeated over and over until a hatching of fine lines develops into a filigree composition. The layering of densely criss-crossing strands interspersed with translucent glaze gives rise to an impression of great depth and three-dimensionality in the view of the observer.

The fine, relief-like structures create patterns of shade as the light moves, so that images change according to lighting. This effect imbues with the added feeling of variability, changeable mood, symbolic of the sometimes unexpected changes in life and variant approaches for one and the same event.

The inspiration for my work has come from literature, music, discussions and debates with colleagues and experience.

The tension between the task of building and sustaining a stable lifestyle, the alertness demanded in ordinary life and my individual fantasies and abstract imaginative power is reflected in my paintings. The time-consuming, almost meditative process employed in a work is as much an expression of an inward and outward sense of order as the urge for love of life, impulsiveness and spontaneity.

The creation of artworks has been my passion ever since my early childhood years. My development in the world of art has taken an unconventional path, sometimes by stubbornly pursuing my own way, the authentic power of expression in my paintings has elicited an earnest response.

¨Tina Buchholtz on her work¨

This is the dream of winter sedentaries, one that no snow on mountain slopes could ever replace: the ephemeral warmth of summer, fragrant grass and hay, flowers, water to dive into, short, balmy nights. Tina Buchholtz, an artist from Berlin, springs us right out the dull, grimy city winter into this summer magic.

“Summer Dance” is a virtuoso of thousands of layered strokes in acrylic paint. An image of ice also brings to mind the present season.

Berliner Zeitung during the exhibition at Deutsche Bank Unter Den Linden, Berlin

Tina Buchholtz works in the abstract – quite so – as one is tempted to say. In her two-part work, The Erlking, the gloomy meadows, an eerie mist, the impenetrability of the dark night instantly evoke powerful associations with tragedy. When one stands back, a spreading web with relief-like characters visible at close range, becomes all-enveloping, unyielding.

Dr. Anne Meckel, Art Historian, in her review of the “The Erlking.”

Tina Buchholtz's predominantly over-sized abstract compositions are covered with a network of thin lines and spots. In a very meditative manner she puts one colourful impression next to the other and creates a well and strict composed array of corresponding lines and spots.

The starting point and the finalised paintings, although abstract, are always related to figurative topics. The titles and topics of her paintings might change during the time of her work but a picture "without title" is unthinkable for the artist. There are people in her paintings, impressions of landscapes or winding lines that imagine the colourful impression of a climbing chameleon.

The connection to figurative painting always stays in the foreground.

Helmut Junger, Art Historian


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