Hamburg Showroom

Adrian Falkner & Lennart Grau

Lennart Grau‘s almost brutal use of colours is a fascinating counterpoint in his interest in the ease and jauntiness of the Rokoko. Impressed by the human ability of decadence, as particularly embodied by this former society, the artist feels inspired to emphasize tawdry themes. For Grau, angels, classic still lifes and epic stagings represent perfect models to reveal the shallow glamour of this era and to shape these typical ornaments into neat ulcers. In reduced, abstract studies, in which the artists deals with the effect of real and painted light and shadow, Grau is always in search of innovative techniques of the Trompe L’oeil. With these moments of irritation, the painter attempts to engender mistrust on behalf of the beholder that on the one hand is seductive, but on the other hand also contains a doubtful undertone. As in Impressionism, the representation of light and ambient conditions becomes the artist’s key task. An art movement that, even back then, has always been connected with innovation, progress and critical thinking, is revived by the work of Lennart Grau and transformed into a three-dimensional image. Lennart has completed his studies of fine arts as an alumni of Prof Leiko Ikemura at the Berlin University of the Arts (UdK) in 2012. Lennart Grau (*1981 in Krefeld/Germany) lives and works in Berlin.

Painting with less thinking going on. Unleashing the hand’s movements by preventing the mind from telling it where to go. This expressionist precept is the main thrust of the work by Adrian Falkner, who asserts himself as a contemporary painter by reclaiming his civilian identity and shedding the pseudonym he’d been using until then as a graffiti writer: Smash137. Starting from the observation that, ever since he started painting, his work has been highly controlled, precise and meticulous, Adrian Falkner is striving to attain a form of freedom by experimenting with thought-free – but not uncontrolled – gestures. The idea of breaking loose from the chains of habit guiding his hand movement fascinated him to the extent of becoming the core focus of his new paintings. The construction based on the letters of his pseudonym has been replaced by circular movements repeated again and again to form multiple layers, artfully blending colours and techniques. No two circles are the same; they overlap without ever becoming superimposed, an astonishing fact when you’re aware of just how precisely the Swiss artist used to construct his work, both in the street and the studio. His new paintings and works on paper nod towards the artist’s interest in Eastern philosophies and their related aesthetic ideas around notions of eternity, incompleteness and imperfection.