#4: Fatma Güdü + John Utting
10.12.22–29.01.23
You and your friends are cordially invited to the opening on Saturday, 10.12.2022, at 6:30 pm.
Fatma Güdü talks with Christian Thöner about her work.
Fatma Güdü talks with Christian Thöner about her work.
It is probably something like an artistic elective affinity that connects Fatma Güdü with John Utting. It is the difficult-to-define feeling of affinity that can arise when the inner attitude to what one does seems to be the same – at least a very similar one. The two have never met in person, never even communicated until recently. At least not much that would go far beyond liking each other's posts on Instagram. Because that's where John Utting's art takes place today. That's where it's visible. And that's where the quick and intuitive in his work could touch Fatma Güdü. The obvious ease with which they overlay pictorial planes, "cobble together" motifs, delete and add details is common to both, as is the confidence that their resulting figurative pictorial compositions exude. But while Güdü uses reduction to extract the inner self from her protagonists, in Utting's work they often appear as grimaces, distorted creatures. Yet when they confront each other in their vulnerability and woundedness, they all have something in common: something deeply human.
At GROUNDFLOOR PLAYGROUND, the painter Güdü now organizes the exciting encounter of her sculptures created for this purpose with the digital works of the printmaker Utting, which have been transferred back into the analog. The material plays a decisive role for her: plaster on wire and sheep's wool also breathe olfactory life into her figures for quite some time. And the high-quality art prints on handmade paper lend Utting's works, created on the iPad, a new, unusual materiality. They solidify the unimaginable flood of pixels of digital content received on the tablet, from which Utting now generates his works as an "artist on Instagram."
Fatma Güdü, who has chosen John Utting for GROUNDFLOOR PLAYGROUND #4 as a co- and counter-player, still knows no more about him personally than before. Autobiographical data do not interest her. She is only interested in the art. Utting, too. Otherwise he would probably never have confidently placed the decision on how to deal with his work in Güdüs' hands.
Fatma Güdü, who has chosen John Utting for GROUNDFLOOR PLAYGROUND #4 as a co- and counter-player, still knows no more about him personally than before. Autobiographical data do not interest her. She is only interested in the art. Utting, too. Otherwise he would probably never have confidently placed the decision on how to deal with his work in Güdüs' hands.
Fatma Güdü (*1983 in Nuremberg) studied free painting at the Academy of Fine Arts Nuremberg from 2006 to 2012 with Prof. Thomas Hartmann, whose master student she was in 2011.
John Utting is a printmaker and lecturer. He studied at Brighton College of Art, Liverpool College of Art and the Slade School of Fine Art, London and is engaged in various printmaking processes.
Fatma Güdü + John Utting
You and your friends are cordially invited to the opening on Saturday, 10.12.2022, at 6:30 pm.
Fatma Güdü talks with Christian Thöner about her work.
It is probably something like an artistic elective affinity that connects Fatma Güdü with John Utting. It is the difficult-to-define feeling of affinity that can arise when the inner attitude to what one does seems to be the same – at least a very similar one. The two have never met in person, never even communicated until recently. At least not much that would go far beyond liking each other's posts on Instagram. Because that's where John Utting's art takes place today. That's where it's visible. And that's where the quick and intuitive in his work could touch Fatma Güdü. The obvious ease with which they overlay pictorial planes, "cobble together" motifs, delete and add details is common to both, as is the confidence that their resulting figurative pictorial compositions exude. But while Güdü uses reduction to extract the inner self from her protagonists, in Utting's work they often appear as grimaces, distorted creatures. Yet when they confront each other in their vulnerability and woundedness, they all have something in common: something deeply human.
At GROUNDFLOOR PLAYGROUND, the painter Güdü now organizes the exciting encounter of her sculptures created for this purpose with the digital works of the printmaker Utting, which have been transferred back into the analog. The material plays a decisive role for her: plaster on wire and sheep's wool also breathe olfactory life into her figures for quite some time. And the high-quality art prints on handmade paper lend Utting's works, created on the iPad, a new, unusual materiality. They solidify the unimaginable flood of pixels of digital content received on the tablet, from which Utting now generates his works as an "artist on Instagram."
Fatma Güdü, who has chosen John Utting for GROUNDFLOOR PLAYGROUND #4 as a co- and counter-player, still knows no more about him personally than before. Autobiographical data do not interest her. She is only interested in the art. Utting, too. Otherwise he would probably never have confidently placed the decision on how to deal with his work in Güdüs' hands.
Fatma Güdü (*1983 in Nuremberg) studied free painting at the Academy of Fine Arts Nuremberg from 2006 to 2012 with Prof. Thomas Hartmann, whose master student she was in 2011.
John Utting is a printmaker and lecturer. He studied at Brighton College of Art, Liverpool College of Art and the Slade School of Fine Art, London and is engaged in various printmaking processes.
Fatma Güdü talks with Christian Thöner about her work.
It is probably something like an artistic elective affinity that connects Fatma Güdü with John Utting. It is the difficult-to-define feeling of affinity that can arise when the inner attitude to what one does seems to be the same – at least a very similar one. The two have never met in person, never even communicated until recently. At least not much that would go far beyond liking each other's posts on Instagram. Because that's where John Utting's art takes place today. That's where it's visible. And that's where the quick and intuitive in his work could touch Fatma Güdü. The obvious ease with which they overlay pictorial planes, "cobble together" motifs, delete and add details is common to both, as is the confidence that their resulting figurative pictorial compositions exude. But while Güdü uses reduction to extract the inner self from her protagonists, in Utting's work they often appear as grimaces, distorted creatures. Yet when they confront each other in their vulnerability and woundedness, they all have something in common: something deeply human.
At GROUNDFLOOR PLAYGROUND, the painter Güdü now organizes the exciting encounter of her sculptures created for this purpose with the digital works of the printmaker Utting, which have been transferred back into the analog. The material plays a decisive role for her: plaster on wire and sheep's wool also breathe olfactory life into her figures for quite some time. And the high-quality art prints on handmade paper lend Utting's works, created on the iPad, a new, unusual materiality. They solidify the unimaginable flood of pixels of digital content received on the tablet, from which Utting now generates his works as an "artist on Instagram."
Fatma Güdü, who has chosen John Utting for GROUNDFLOOR PLAYGROUND #4 as a co- and counter-player, still knows no more about him personally than before. Autobiographical data do not interest her. She is only interested in the art. Utting, too. Otherwise he would probably never have confidently placed the decision on how to deal with his work in Güdüs' hands.
Fatma Güdü (*1983 in Nuremberg) studied free painting at the Academy of Fine Arts Nuremberg from 2006 to 2012 with Prof. Thomas Hartmann, whose master student she was in 2011.
John Utting is a printmaker and lecturer. He studied at Brighton College of Art, Liverpool College of Art and the Slade School of Fine Art, London and is engaged in various printmaking processes.
Events:
Saturday, 10.12.22,
6:30 pm
6:30 pm
Opening of the exhibition
