As well as blank materials, Peer Kriesel frequently paints on existing print products that are of no more use. For his “overpaintings” he uses validated transport tickets, admission tickets and old invitations to exhibition openings. Kriesel is fascinated by these materials precisely because they were conceived for that short lifetime –that is, for the trip from A to B or for the attendance to the event-. Thus, they are often only valuable for that short act, and then rather represent a disposable object. However, they tell a full story, as every journey took place for a reason and every time spent in the cinema or at an exhibition left a memory.
Design elements, imprints and blurred, partly faded stamping ink serve Kriesel as a source of inspiration for these works.
Nautical charts and maps
The overpainted nautical charts and maps and city maps are part of the new series of works by the Berlin artist Peer Kriesel (* 1979). The artist-like overpaintings are large-format with the nautical charts, which turn the filigree and detailed structures into an almost endless swarm.
Peer Kriesel paints over old - often very rare - maps with watercolor and acrylic paint as well as pigment fineliner. There is another irrevocable hindrance to the medium of the card, but at the same time the object belongs to art. The old (defied) and anachronistic viewing maps that have become anachronistic in the age of Google are thus brought back to life. The map representation with its landscapes and data, its past life and the time from which it is fixed serves as a source of inspiration for new things: For an unfathomable universe and grimaces, mythical creatures and figures that are drawn with the finest line on paper. Bank and land borders feel open.
The overpaintings by Peer Kriesel are strong due to the age of digitization.
It is about values, the interests of communication, the perception of perception and inflation. Consumption of art and media.
The works of the overpainting of the map must symbolically orient themselves in an age of excess of data, influences, impressions and messages that unstructured responsibilities no longer belong and do not belong.
This series of works includes painting over old postcards, documents and papers from my great-uncle, Achim.
They tell a personal but also a forgotten story - on old, aesthetically exciting surfaces and backgrounds, new figures and a world from today emerge in contrast.
In addition to old postcards from the family, the papers and backgrounds are also from a time when they were prisoners of war during and after World War II.
The type of communication and the feelings associated with it during this time are particularly interesting. Hope when you will finally be released, fears about relatives and all that analogue by field post, which was on the road for weeks and today it seems like a miracle anyway that it has reached the recipient. Answers then took just as long and were only as short on small postcards as today's twitter messages. See works