Себастьян Хайнер: абстрактный экспрессионизм 21 века. Уже в который раз в поисках сюжетов и вдохновения Себастьян Хайнер совершает путешествие в дальние края. Так, с 2004 по 2008 год помимо своей студии в Берлине , художник работал и проводил мастер – классы в Пекине, Китай. Себастьян рисовал в Пекинской студии и двери его мастерской всегда были…
Ladies and Gentlemen, sometimes, working up a speech in a foreign language can change one’s perspective of the object. In a way, this is comparable to the act of transplanting a painting to another place, to another country. As I was thinking about how to introduce the Berlin painter Sebastian Heiner to a London audience, a curious thing happened. I’ve known Sebastian for seven years now; I’ve followed his career and have the privelege of living with one of his works.
When talking of «gesturing» and «gestures» in the title of my speech I mean two very different aspects which this term conveys to me in Sebastian Heiner’s painting. On one hand gesturing while painting meaning the hand’s or the whole bodies’ movement in the act of painting and on the other hand the revealing and referring gestures that appear in many of his paintings.
作品中的红颜色是舞台上情节发展的唯一的颜色，它是女舞蹈演员演出服装的颜色，那个女人想表达的是一个春天的牺牲者，在她癫狂的舞蹈动作中她从性别之中逃离出来，并且做出了自我的牺牲，而其他的人 – 男人还有女人 – 一动不动地站在背后, 好像在出神的看死亡的舞蹈。
The red in the painting is the only color of the happenings on stage, it is the color of the dancer’s clothes who is centered in the spring sacrifice. She tears out her sexual organ in a frenzied act and sacrifices herself while the other men as well as women standing in the background watch the death dance magnetized.
In works like «Sunrise», «Bambushain» and «Night Lights», Sebastian Heiner depicts a shift of focus toward Asiatic culture, an a process of engagement with it.
In an interview in 2001 Sebastian Heiner stated he would most like to be the cat from Alice in Wonderland: «I’d grin then disappear again into red oil paint without a trace!» Three years later he took off. Not quite as quick as the Cheshire Cat but since 2004 the artist from Berlin has been living and working in Beijing for six or seven months a year. This has not however turned Sebastian Heiner’s imagery upside down.
A note is struck; the painter stands on a stage. Rapt in concentration, his thoughts linger for a moment between the primed canvas and the music. Then Sebastian Heiner reaches for a brush. He dips it into the white bucket of paint and, with quick strokes, sketches a figure whose existence is only short-lived. Later in the process, before the eyes of those in the audience, its contours will vanish under layers of paint, covered over by strokes made with a brush or twig broom. In between, the artist even uses his arm as a painting tool or fly swatter.
Two paintings from Sebastian Heiner – Sebastian Heiner’s painting is vivid and of an ecstatic color composition and intuitive energy. If one were to search for analogies in music one would find the large formats to bring to mind Richard Strauss’s opulent orchestrations. The fiery flow intones the free harmony of Igor Strawinsky’s early expressionism. The Peking opera with its difficult sound spectrum seems like an antilogy to the expressive all-over and sweeping gesture.