Between Primark and Fjord

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Of: Ulla Heyne

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Two who like to bring linocuts to the Kunstgewerbehaus: curator Birgit Ricke (left) and Bremen artist Pia E. van Nuland. © Heyne

Scheeßel – linoprint – which sounds like pathetic attempts in the art class in primary school, like knives slipping from invincible material, faulty cuts that destroyed everything, and bleeding hands. The marvelous world of images by Pia E. van Nuland, which opens from Thursday at the Scheeßel Kunstgewerbehaus, does not want to be united with the many buried memories: Large format, structured landscapes in their very own color and imagery, bold oil applications, almost three-dimensional – a world that evokes expressions like “Graphic Novel” in one and “Monet” in the other – but she left out the water lilies in “Boy, Blue Lake”, “otherwise the allusion would be too obvious,” laughs the Bremen native .

No question: Although van Nuland actually made her first attempts at the later art form of her choice at school at the age of eleven or twelve, her “printed matter” on display at Meyerhof until August 14 has very little in common. with the first attempts at walking. And the 50-year-old only rarely cuts himself. The challenge of getting everything right on the first cut remains. There is no new chance, which is why each step in the often weeks-long production of up to 16 printing blocks, which are later printed in different colors on top of each other, requires maximum concentration. And perhaps this focus is what makes both the excitement and the feeling. The artist, who studied in Holland and Edinburgh, revolves around the tension between man and nature. Even with nature “in peace” by the Sweden lover, who is currently setting up a small studio there in the cottage and sees the experience of nature there as a “tank for creativity”: “Not everyone is so lucky to be able to experience something like this Her pictures: also an introduction to deceleration, grounding, the fairytale landscapes with lichen and fjords.

Not everyone is so lucky to experience something like this.

In addition to the landscape format in large format from Sweden, some designed as a diptych (a print also shown in Scheeßel, has just been accepted as one of 38 out of 500 contributions from around the world for the famous graphic award for linocuts in Bietigheim -Bissingen), the artist repeatedly creates moments that touch themselves: teenagers watching their “Primark” moves against a landscape background, father and son’s fishing trip, the disused seesaw over pink sand at the end of summer.

She developed the technique with which she composes her compositions, namely to photograph special moments, mostly with her mobile phone, to later process them, often alienated or embedded in other contexts, during a study visit to the United States in 2018. At that time, she also worked on daily political issues – the Occupy Tents on Wall Street, the moment the Bandidos reconciled with the Hells Angels after a bitter gang war. “I reinvented myself in the United States,” she says, looking back on her one-year stay with her family in Salt Lake City.

Meanwhile, their messages, and sometimes criticism, have become more abstract. The topic of “youth” – frozen moments that do not return – like seeing the treasures from the Primark bags: you can discover a piece of consumer criticism in it. Or capture a moment of youthful bliss that never comes back. She does not want to impose her interpretation. Your own family is also often alienated there: “You get very close to them with the camera without them feeling disturbed.”

And then there are the special moments, almost too whimsical to be true: the graduate student with a money hat and necklace, who is almost adored by his mother, who is Polynesian – a scene that developed during his stay in Salt Lake City, played “Diamen “by his own son. All these moments, in connection with the quality of the craft and the coloring, fascinated curator Birgit Ricke so much that she invited the artist to Scheeßel – not without first seeing some of the works, which were mostly limited to a few prints, during a “home visit”. That explains the empty seats above the couch in the van Nuland family’s living room.

It should not bother the artist herself so much: Immediately after the vernissage, which starts on Thursday at 18.30, she leaves for Stuttgart for, in addition to the recognition that she belongs to the selected elite of linocuts, in addition to the lively Instagram community. network.

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