Norbert Bayer | 白宁瑞



Series of images based on impressionist motifs

Size: 13cx x 13cm each, 2004
Material: Ministeck

Why impressionist motifs?

Norbert Bayer’s close-ups of keyscenes taken from classics of the Impressionism, a Thahitian beauty by Gaugin or Monet’s ever-copied waterlilies are pressed into Ministeck. Not another boring copy, but concept art.

Painting has always known the ways to work on every single point of a picture repeatedly and immediately. Therefore it is very similiar to the free definition of pixels. With the impressionists came a more intense confrontation with the picture’s surface, the small single brushstrokes which alltogether resulted in a whole picture. The impressionists intensified the confrontation with the individual points of a picture by concentrating on them – stroke after stroke dense and voluptous pictures of landscapes and portraits emerged.

As a consequent continuation of the Impressionism pointilism aroused: the paintings dissolved in their colourpoints and the concentration on the picture point became intensified by the pointillists. Following this “picture point tradition” the “pixilism” as we may call it, the technical dissolvement of a picture into single pixel, appears as the consequent continuation of the pointilism.

Norbert Bayer not only continues the picture point tradition by producing digital pixel equivalents but also expands it conceptionelly by materializing the picture points through Ministeck.

The perfection of details

In the tradition of Zen Buddhism great things are to be found in the small; like the Austrian playwriter Thomas Bernhard discovers the hard core of his thoughts – the truth – through the intense observation of a wall, through the discovery of cracks, notches and even finer structures, the observer of a picture discovers a masterpiece through the perfection of even its smallest elements, through the perfectly and thoroughly combined details.

Norbert Bayer reminds one with imPRESSions of the boldness of impressionist paintings and picks up the painting-based confrontation with the approach towards a picture with technical and material means.

Text by Suzana Sucic