ARTIST:

Markus Selg

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Markus Selg
Vorahnung (Premonition), 2010
Piezo print on paper
37 x 49.5 cm

Markus Selg’s myth-based work dares the viewer to reconsider contemporary art as all-encompassing, immersive and universal. His printmaking, sculpture and video-based practice is infused with recurring themes from world art history, and merges traditional craft and technology to re-spiritualise the role of the artist within a contemporary context.

Markus Selg
Angelus, 2010
Piezo print on paper
49.5 x 39.5 cm

Selg works in unusual self-isolation from his times quite literally: the artist has retreated into the woods in order to work, donning the role of the traditional craftsman and exploring the idea of self-sufficiency that accompanies it. At the same time, Selg takes advantage of the latest computer technology to produce multi-layered images like the dreamlike Vorahnung (Premonition) and the colour-saturated Angelus (both 2010), recalling the imagery and symbolism of earlier visual traditions of the German Romantics and Expressionists.

Markus Selg
Anima, 2010
Wood
100 x 30 x 30 cm

Thematically, night, nature, sex, life and death fill works such as the quasi-Biblical Traum der Sarazenin (2007) and the Gauguin-esque Searching for Ruwenzori (2010). Similar ideas around the life cycle, human loneliness and other allegorical states haunt his dramatically posed figures made out of plaster, jute, metal and wood. Mild und Leise Wie Er Lächelt (2008), which looks like a Buddhist icon, is more intricately ornamented and polished than more recent works from 2010 based on drawings, which free the figure with a more essentialised representation. Trauernde (Mourner), Betender, Eva, Anima and Abgrund (Abyss) show the artist continuing a three-dimensional shedding process and a tendency towards rustication, seen in the roughly-hewn Bench (Tiger) and Chair (Hanush) (all 2010).

Markus Selg
Abgrund (Abyss), 2010
Wood
110 x 26 cm

The imagery in the works shown here is inspired by life and creation. When asked about the imperfections embedded in them, Selg refers to the sense of almost spiritual, single wholeness permeating his practice. ‘All of The Creation is perfect…The less you care about form and the more you are able to follow your intuition, the closer you can get to a truth, which is not only following the outer world. The cardinal example of a Gesamtkunstwerk is life itself.’

Markus Selg
Bench (Tiger), 2010
Collaboration with Astrid Sourkova, Wood
80 x 120 x 38 cm

Markus Selg
Chair (Hanush), 2010
Collaboration with Astrid Sourkova, Wood
88 x 64 x 24 cm

Markus Selg
Mild und leise wie er lächelt (Mild and quiet as he smiles), 2008
Metal, Wood, Straw, Plaster, Shellac
150 x 38 x 34 cm

Markus Selg
Eva, 2010
Plaster, wood, jute, metal
95 x 26 x 26 cm / 88 x 33 x 33 cm (pedestal)

Markus Selg
Searching For Ruwenzori, 2010
Sublimation print on fabric
195 x 260 cm

Markus Selg
Installation Shot,

Markus Selg
Betender, 2009
Plaster,straw, jute, metal, wood
Artwork: 86 x 20 x 47 cm Plinth: 85 x 60 x 60 cm

Markus Selg
Trauernde, 2008
Plaster, straw, jute, metal, shellac
Artwork: 125 x 30 x 30 cm Plinth: 62 x 36 x 36 cm

Markus Selg
Traum der Sarazenin, 2007
Sublimation print on fabric
240 x 350 cm

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