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Regine Schumann, for her second solo show at Dep Art Gallery, Milan, from 2nd February to 30th March 2021, presents around twenty works of art made of acrylic Plexiglas. Some of the works presented are exclusively made for this special occasion at the Milanese gallery.
The exhibition, curated by Alberto Zanchetta, is titled “Chromasophia”, a neologism that combines the word Colour/Chroma and Knowledge/Sophia: the “knowledge of colour” that Schumann has developed through the years with the aim of offering to the spectator countless possibilities of combinations, that are all equally unexpected.

For the first time in Italy, the artist shows the new series Moons, born from the artist’s expressive urgencies emerged during the first months of the lockdown. The artist claims: “The series has been created at the beginnings of the 2020, in a period of limit freedom of movement and at the rhythm of an unusual slow down. Distance and proximity, or even better the unsatisfied desire of distancing, are the cardinal theme of “Moons”.

The exhibition also presents a work, titled Colormirror Rainbow Satin Orange Milan, exclusively created for the Dep Art Gallery and dedicated to the city of Milan. The work is available on limited edition.

Regine Schumann puts together sheets of acrylic Plexiglas to obtain countless shadows. Each of these geometries embraces a multitude of nuances, fleeting or more persistent, that are born on the basis of the interaction between the foreground, the background, and the perimeter. Depending on the atmospheric or spatial agents, the synthetic colours grow stronger, combine, and reverberate in turn, subjecting the spectator’s gaze to imperceptible changes, at times gradual, at other times sudden.

Using the UV light, the surfaces reveal, also, latent graduations: the acrylic suddenly seems to dematerialize, while the satin sheets tend to satirize and numb; creating a colour synthesis.

As the curator, Alberto Zanchetta, tells “Schumann gives to colours a consistency able to identify with the materials. Therefore, it is about a “integrated” colour, which is not immutable and inert. Under the ultraviolet rays, the colour becomes intangible as if it is disembodied from the work. By using the Plexiglas surface, the colour fluctuates in the space and acquires a ghostly temperature, a luminescence that is irrelevant for the traditional visible spectrum.”

The painting of the German artist is a painting that does not restrict to think about the colour as a bidimensional space; the characteristic of the chromatic texture is, in fact, determined by the relationship that the geometric volumes establish with the light and the surrounded architecture.

With her works, obtained from modern industrial products, Regine Schumann has been able to invent a fluorescent that change colour of our lived space. Pitching us in an experience located between the natural reality and the artificial one.

The exhibition is presented with a bilingual catalogue (Italian/English), which contains the critic text of the curator, the reproduction of the exhibited works, the installation view, and bio-bibliography updated.

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