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Magdalena Cichon

Magdalena Cichon

   •   Contemporary Arts
27 Discovered works of art  •  ID: #61785
In large format, we prefer figurative scenes, including depictions of animals and landscapes. The motifs appear and elude. The moment when a scene could be named hardly ever occurs - instead, transitions, overlays, enforcements with colored spots, geometric elements, drawings, micro-images. Cracked colors, lots of it again shining aggressively, predominantly acrylic, but supplemented by other material components. Glazing, thinned, viscous, forming lumps in some places. Graphic elements made of chalk, charcoal and other crayons.
After the overall view, you come close to a screen and make out a complicated structure of layers that only temporarily reveal the front and rear, an above and below. Another finding is immediately next to it. In this respect, painting actually carries the main features of gestural-informal art, but that is not the final finding either. In this conglomerate of expressions of various nature, figures are intertwined, clearly linearly outlined, rarely completely, often as a fragment, because they too are part of this flowing, exploring, interwoven design cosmos. Individual parts of the body are modeled by old masters and then merge into non-representational landscapes with this painterly depicted relief. But like a basic motif that is always heard again and again, these apparently uncontrolled eruptions of form, the most precise drawings, clear and distinct contours prevail, the associations to the powerful and virtuoso figure concepts of the late Renaissance and Mannerism conjure up, but immediately blur them again.
This is a fundamental principle of Magdalena Cichon's design method. It offers no definitive formulations either to itself or to the viewer. New constellations between color, shape and structure are constantly emerging. As a viewer, we quickly become aware that we are not entitled to reliable recognition or a clear reading. Magdalena Cichon's work is also based on the unpredictable, unexpected. Her strategy is based on the potential of accidental emergence and on her planned interventions, her visual answers to these requirements. It is the tension between chance and intention from which her pictures derive their strength. Magdalena Cichon does not draw the shape and outline of bodies according to a model, but she has internalized these anatomical formulas through long study, so that they have become an idea of a picture, a fund of forms, which then, repeatedly giving in to chance, breaks the path in the painting act. She describes this as a process that takes place “from the hand”, “without a detour via the head”, which she observes like an outsider, in order to then react at a decisive moment to this product of artistic experience and unconscious action ,

André Breton understood the artist's activity less as inventing and imagining than as finding, releasing and exposing and derived an "psychic automatism" from this as an artistic ideal, albeit on the assumption that the "real" course of thinking without any control of the Being able to track down reason. The goal of surrealism was to be able to represent an unrestricted totality of reality. This was of course a utopia: the message always remains a fragment of a whole, part of the large continuum, because it is inevitably isolation, selection from an all-inclusive context.
Magdalena Cichon does not succumb to this illusion in the first place. She is fully aware of this limitation, this condition and makes it a method - because reflection is an essential characteristic of her work.

www.magdalena-cichon.de
Text: Angelika Steinmetz-Oppelland, 2017
Photo: Joachim Blobel
© Meisterdrucke

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