(c) Micha Wille 2019
EVERYTHING I PAINT TURNS OUT TO BE A SENTENCE - and vice versa:)
Introductory basics to the work of MICHA WILLE
GENERAL THEORETICAL POLICIES
large scale paintings/ Prints and Drawings/ Text
I reflect bits of contemporaneity: e.g. digitalisiation/ hyperindividualism/ athletism/ stress/ alienation/ illusion of individual opportunities/ entitlement as lifestyle / arbitrariness/ social hierarchies etc..
My work is hardcore subjective, conceptually biased, complex, fast-paced, humour-based, language-driven, analytical, poly-referential and smart.
You will find collisions, contradictions, disruptions, humour, (non-) isomorphic mapping among existing layers, and multi-dimensional narration, a grammar and a syntax.
All of these contribute to my pool of formal and conceptual units of instruments to comment on the mentioned actual socio-cultural phenomena, I reflect upon the status quo and I conclude with predications. My works operate as predicates.
Everything I paint turns out to be a sentence.
So, my artistic process works on questions of culture and thought: the two toughest questions in a turbo capitalist globalized world that exposes the individual to a number of unbearably complex and insolvable defiances. I contribute new knowledge, a radically unobjective narrative: vibrant, funny.
My work delivers moments of utmost focus.
The artistic process (besides the scientific) is the most robust problem solving methodology ever developed:
I begin with an observation, I research, I transform, I adopt, I solve/paint.
ZOMBIE FORMALISM: WHY SO DAMN HETEROGENEOUS?
I implement an ostensible Zombie Formalism which actually, on closer consideration, turns into something more crafty than the superficial statement that „ distinctive style is no longer available“: I style-cite, yes, but I install ORIGINAL work as citation, which is one of the cleverest moves ever.
Furthermore, I implement courage as a forcing function in my artistic process: I do not repeat products – I repeat inquiries/ analyses/ processes of conveying and interpreting.
I was trained as a theoretical linguist. The concepts discussed in this field are still prevailing in mind, though not in a strict subject-specific debate. Rather, they seem to provide me with a terminal of terminologies whose projected use of metaphors allow a multi-dimensional as well as a multi-referential discourse. A linguistic dimension is always part of my analytical understanding, sometimes trivial sometimes highly complex.
I merge the two meaning generating systems: pictorial system/ language system – for me they share similarities and I try to trick them into being more than just adjacent.
I am picking up on language, mere sounds and connotational values. Whenever I observe socio-cultural matters, I immediately reflect upon the jargons involved, rhythms that are delivered and go with the observations, key sounds, language codes.
I also use plain text, graphic choices and call it a painting. For me it is.
Again: Everything I paint, turns out to be a sentence. And every sentence I write turns out to be a painting.
WHY SO MANY ART WORLD COMMENTARIES?
The art world is my habitat. For me, to navigate through it and sensing the universalities of e.g. protocol, arbitrariness, hierarchies, stress, etc. is highly interesting – I comment on these allegedly art world-specific quirks to illustrate their general validity: Protagonists of the art world, like of every other milieu, clique or crowd do feel uncertainties, competition, and all the impact of the globalized developments towards profit that permeate our culture and our society.
WHY HUMOUR/ AGRESSION/ LAXITY?
It is who I am.