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Hill Painting

Hannah Stippl

Austria

Painting, Gouache on Paper

Size: 31.5 W x 23.6 H x 0.8 D in

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66 Views
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About The Artwork

Hill, embankment, thicket: fragmentary landscapes, sections, excerpts, nothing big. These landscapes elude the overview, the large throw. No overview, no view from the top of the landscape, but a view from below, near the ground. The landscape builds up in front of the viewer. The vegetation is an equal at eye level, too many details, confusing and within reach. In my paintings the view should be lost like in a labyrinth, finding oneself between a few points, only to get tangled behind a palmtree. They are always incomplete, full of omissions, illogical and accidental. The Apollonian view of the sublime obscured by trivialities, flourishes, speckles. No outlook for conquerors or sovereign designers, but a view from the center, participating and experiencing. I see the beauty in fallow landfills, in disorder, in confusion.

Details & Dimensions

Painting:Gouache on Paper

Original:One-of-a-kind Artwork

Size:31.5 W x 23.6 H x 0.8 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

In recent years I have focused on exploring structures such as thickets, embankments or overgrown slopes. Each project consists of a series of works on paper and canvas with a specific inspiration. My paintings build up layer upon layer, and since I'm working on many pieces at the same time, that can take years. New paintings are started unintentionally: some colored areas, patterns, overlays. Compositions are built up by overlapping layers of paint with the help of stencils and historic pattern rollers that I collected for the last twenty years. Over time, the layers entangle and certain atmospheres become perceptible. It is important to me to keep the random, accidental, and inappropriate visible, like spots and graffiti-like fragments, left-overs and stray lines. Words and patterns rely on repetition, like magic spells. In my works, I connect research in fields as mythology, feminism or ecology with individuality, emotion and beauty. Together, these structures evoke ambiguous natural sceneries I am interested in, familiar and alien at the same time. Throughout my career I blended my love of pattern with a deep interest in landscape and plants. This is what informs my work in the studio, in the garden, and as horticultural installations. I am radical in the most original sense of the word radicalis, which means rooted, connected to the earth, with plants at eye level. Here, the radical is a form of earthly attachment. I think of my paintings as growing and evolving, revealing themselves slowly.

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