Peter Mohall Exhibition
Mohall examines painting as a medium through several different approaches. Each different body of work is part of a mutual research about painting. MohalI sees it as a necessity to approach the complexity of painting by using several strategies and tools, moving between different styles and themes.
In the “Brushstrokes painting” series, brushstrokes are multiplied through molds and casts, resulting in a painting consisting of a plurality of identical brush strokes. The brushstrokes are placed on the canvas in predetermined systematic patterns or compositions, which are repeated with precise measurements through several paintings. Repetition not only becomes a tool in the construction of the image, but also for creating new images as the same composition is reused in other paintings.
The series examines the authority of painting as a medium and asks formalistic questions about color theory, form and spatial conditions. Due to the casts of identical brushstrokes, the series bypasses painting structures of intuition and spontaneity, and pushes the parameters of the basic components of gesture and movement. The series examines issues that arise when the autonomous identity of the gesture is removed through repetition, as the hand gesture itself, conventionally inherent in painterly authenticity. At the same time the series thematize on the gesture, each action is controlled. The unpredictability of what happens when the brush touches the canvas is removed. The series thus distances itself from the predecessors of the 1960s minimalism with repetition-oriented themes, including Supports/Surfaces and the BMPT movements, where emphasis was on the intuitive movements of the artist’s hand.
In the new works, Mohall varies the coloring with tempera grassa. Though tempera grassa is a less controllable type of paint, painterly imperfections are allowed and become an addition to the discussion.
Image: Peter Mohall, untitled (brushstrokes painting), 2020, Tempera grassa, alkyd resin on linen, 40 x 30 cm