We’ll be showing new large-format photographs that are much less abstract than her previous work, but nevertheless created in the same spirit. Despite photography typically being flat or two-dimensional, she takes a sculptural approach to her work. It’s as if the ray of light from the projector forms a three-dimensional body rather than simply lighting up a flat sheet of photography paper. (Aside from technical exposure issues in the photo lab, light does in fact form bodies. The impression of warped, bent or otherwise shaped objects is always a result of the lighting – evidence, or that which can be certifiably identified via visual inspection, doesn’t exist in the dark.)
Gabi Steinhauser focuses strongly on the visual composition of her photographs; her intention is to take photos of the world that then become pictures – not to depict the world as such, but rather as an abstract composition of color and form.
Is it possible then to take a photograph of a person, for example, without it becoming a portrait? To take photos of figures rather than personalities? The peripheral area in a photographic composition is just as important to Gabi Steinhauser as the figure itself, whether it be a house, a palm tree or a person. She uses the world as a provider of motifs in order to ask fundamental questions surrounding images: How can we break through the visual, depicted surface and understand the reality in its context?
The viewer should neither get too caught up in trying to find explanations in the narrative, nor get introspectively lost in the visual spaces; besides, what is the visual space anyway?
The battle between abstraction and illustration, and the evident nature of imagery, has to be fought over and over.
It is within this tension between the photograph’s connection to reality and its own intrinsic reality that the meaning of pictures is constantly being redefined.
September 23rd until December 19th, 2015
September 22nd, 2015, 7 – 9 pm
objects und paintings
Dear friends of the gallery,
We would like to advise you of our upcoming exhibition of Ryuichi Ohira.
For the first time the gallery Vera Munro will present the works of our new Japanese
The sculptures show Japanese godheads, which turned into man-shape. The Shintoism in
Japan worships gods in an apparitional, phantasmal way. They exist within the nature and
environment without turning into real forms. Hence it is imaginable that they appear on
earth depicting a human being or an animal.
Ohira’s sculptures, for example Umaosa Chigo, refer to the Gion festival in Kyoto, where a
little boy riding a horse represents a man-shaped god. He is verifying on the manhood’s
beliefs, faith and adoration.
The small, filigree wooden sculptures are adorned with leaf gold and carvings.
They are made out of wood from the Zelkova plants, which grow in Southwest and East
Asia. Their extraordinary colour comes from burning and carbonization.
Ohira’s paintings are less figurative. He shows monochrome, black patters made out of
plywood. They have interesting woodcarvings, which are also blackened due to carbonation.
The artist uses leaf gold, mostly for framing them.
It would be a pleasure to have your report on our exhibition.
In case you should be interested in an interview or further
material, please let us know. The artist is going to be present