{"id":19482,"date":"2025-11-17T15:16:59","date_gmt":"2025-11-17T14:16:59","guid":{"rendered":"https:\/\/www.af-kulturstiftung.de\/wordpress\/werk-des-quartals-04-2025\/"},"modified":"2025-11-18T16:43:09","modified_gmt":"2025-11-18T15:43:09","slug":"work-of-the-quarter-04-2025","status":"publish","type":"post","link":"https:\/\/www.af-kulturstiftung.de\/wordpress\/en\/work-of-the-quarter-04-2025\/","title":{"rendered":"Work of the Quarter 04.2025"},"content":{"rendered":"
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Andreas Felger, untitled, 2024<\/div>
Oil on canvas, 140 x 100 cm \u00a9 AFKS<\/div><\/div><\/div>
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Andreas Felger, Farrenberg in the moon, 2020<\/div>
Watercolor on paper, 65 x 51 cm \u00a9 AFKS<\/div><\/div><\/div><\/div><\/div><\/div>
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untitled
\n2024
\nOil on canvas
\n140 x 100 cm<\/h5>\n<\/div><\/div>
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Eye shapes often appear in Andreas Felger’s paintings, both as part of figurative representations and as solitary forms, detached from faces, in landscapes, and in primarily abstract compositions. The meanings of these pictogram-like formal elements vary according to context. Religious connotations are often evident when an \u2018eye of God\u2019 appears alone in the upper half of the picture. A mountain can also \u2018see\u2019 \u2013 as in our second image Farrenberg im Mond<\/em> (Farrenberg in the Moon<\/em>) \u2013 and we think of a personified nature into which we not only immerse our gaze, but which unexpectedly looks back at us. Through our gaze, trees, forests, and the sky become our counterparts, as if creation were speaking to us directly. One might think that an ancient concept of nature resonates here, the animation of nature as we know it from mythology. In Andreas Felger’s depictions of eyes, however, only this one pictorial symbol remains of the mythological figure: a reclining almond shape with a circular center.<\/p>\n

In the oil painting from 2024 presented here, Untitled, the symbolism appears to be relativized. The shapes of the eyes appear and disappear, just as the movements of the water suggest. The blue and sand-colored background and the foreground with its wavy ornamentation could refer to a beach scene in which glances are exchanged. They appear and disappear, merging into the moving lines that converge toward the center of the picture. The structures open evenly at the top and bottom, making the upper and lower halves of the picture appear symmetrical, as on the water, so on land. The style of Andreas Felger’s brush \u2018writing\u2019 moves the viewer’s eye in an almost playful way; one senses the painter’s enthusiasm and pleasure in setting the moving signs. The rest is done by the dots and speckles of color loosely distributed across the entire picture surface, which airily and lightly scatter the wave and eye ornaments and, in turn, keep the viewer’s gaze in motion. The painter’s brushwork, the liquidity of the paint, and the wateriness of the depicted elements combine to create an animated yet intangible picture surface.<\/p>\n

Text by Marvin Altner<\/p>\n<\/div><\/div>

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