Title: Volumen
Year: 2024
Medium: Sculpture
Material: Resin, Acrylic Paint
Oefner’s set of four new works opens a new chapter in his exploration of the boundaries of painting. Previously, he has manipulated paint using physical forces like gravity and centrifugal force and captured these ephemeral moments in photographs.
In this new series, Oefner extends his experimentation to physical objects. By embracing the physicality of paint, he lifts it from its flat, two-dimensional nature into a three-dimensional experience, challenging the viewer’s perception of both form and medium. These objects appear to oscillate between transformation and permanence. The brushstrokes, suspended in resin, becoming lasting traces of movement, frozen in time.
“I have always been fascinated by the textural quality of paintings. For me, experiencing works like de Kooning’s Door to the River or Pollock’s Lavender Mist has always been as much a tactile experience as a visual one. These paintings are almost like sculptures to me. What I am doing is removing the canvas entirely and lifting the paint into space, making its physicality completely tangible.”
Title: Volumen
Year: 2024
Medium: Sculpture
Material: Resin, Acrylic Paint
Oefner’s set of four new works opens a new chapter in his exploration of the boundaries of painting. Previously, he has manipulated paint using physical forces like gravity and centrifugal force and captured these ephemeral moments in photographs.
In this new series, Oefner extends his experimentation to physical objects. By embracing the physicality of paint, he lifts it from its flat, two-dimensional nature into a three-dimensional experience, challenging the viewer’s perception of both form and medium. These objects appear to oscillate between transformation and permanence. The brushstrokes, suspended in resin, becoming lasting traces of movement, frozen in time.
“I have always been fascinated by the textural quality of paintings. For me, experiencing works like de Kooning’s Door to the River or Pollock’s Lavender Mist has always been as much a tactile experience as a visual one. These paintings are almost like sculptures to me. What I am doing is removing the canvas entirely and lifting the paint into space, making its physicality completely tangible.”