hoffmann

in focus:

a view over the channel ...via guernsey

john carter, norman dilworth, michael kidner, eric snell, gary woodley

“a view over the channel …via guernsey” is the title of an exhibition held at pflazgalerie kaiserslautern in 1994-95. this online viewing room provides material initially made available as part of the eponymous exhibition catalogue—the curator’s, britta e. buhlmann’s introductory text can be read in the following. the concept for the catalogue, developed by adelheid hoffmann, includes the documentation of works, and texts written by participating artists john carter, norman dilworth, michael kidner, eric snell and gary woodley, whose work since shapes edition & galerie hoffmann’s program.

back-cover view: catalogue accompanying "a view over the channel" at pfalzgalerie kaiserslautern, 1994/95

rückansicht des kataloges “ein blick über den ärmelkanal”

numbers and proportions become the constructive basis of sculptures and wall objects, inhering the idea of growth that is analogous to natural processes.

britta buhlmann on norman dilworth’s work as part of “a view over the channel”

a view over the channel

in naming an exhibition of works by john carter, norman dilworth, michael kidner, eric snell and gary woodley "a view over the channel" we have, without initiatially thinking of it, grasped some essential characteristics of all the works already: their precision and openness, as well as the flexibility that is necessary to grasp the different levels of the works.

our gaze must also remain mobile, for michael kidner, john carter and gary woodley live in london, while eric snell, who was born in guernsey, after stations in bermingham, london and berlin also settled on the norman island, and norman dilworth from wigan feels mainly at home in amsterdam. we are thus describing a line of thought that begins far in the west, sweeps across to the british capital and finally leads us back to the continent.

the line also applies to the interest that unites all artists, which becomes apparent in the context of our exhibition. using different questions, they examine functions and relations, build structures from them, develop surfaces and bodies on their basis, which are then examined again with regard to their spatial reference. in order to avoid subjective formulation, the artists use conceptual and constructive methods. elementary orders arise from measure and number.

john carter weaves such structures into one another, staggers them and brings them together into differentiated groups. he combines two- and three-dimensionality in the sense of a double aspect, from which works emerge whose painterly and sculptural presence fascinates us in equal measure and encourage us to rethink our principles of order and their systematization.

norman dilworth unfolds structures before our eyes, which are built up from simple sequences and thereby develop an almost anthropomorphic character. numbers and proportions become the constructive basis of sculptures and wall objects, inhering the idea of growth that is analogous to natural processes. the idiosyncratic organisms live in the balance of structural strength and vitality. they leave room for different perspectives, depending on the questions and the level of experience a visitor approaches them with. in all the works, lines, surfaces and volumes form exciting references that trigger our curiosity to get to the bottom of them.

energetic manifestations of color serve as the basis for michael kidner's serial color schemes, which he uses to examine structural complexities. rhythmic image structures and virtual movements captivate our gaze and trigger a dialogue with the works that does not suffocate in complacent acknowledgment, but rather systematically leads us to areas of experience that lie beyond the quantifiable.

eric snell's conceptual approach also moves between the wedge of scientific law and mythological implications. he transforms real objects into a fleeting, shadowy image of themselves. the artist plays the role of a catalyst that, by releasing energies, creates the basis for material and mental changes that enable a new understanding of art and society.

gary woodley also unsettles "unambiguous" definitions. he constructs a comprehensive line in the entrance area of our museum and, with these interventions inscribed in the space, provokes movement, new standpoints and, like all his artist colleagues, a variety of perspectives that develop from this, which can also be transferred to social issues.

i would therefore like to summarize, with richard paul lohse [in “konstruktive kunst in england heute”, 1990], that what "the various tendencies have in common... is the conviction that, through an objectifying... set of instruments, we can achieve a binding art statement in the sense of a humane form of society."

britta e. buhlmann, 1994 (translation from the original german by robert b. roger, 2022)

john carter, “doppeltor darmstadt” (1993), wood, painted, 366 × 786 × 106 cm, darmstadt

john carter, “doppeltor darmstadt” (1993), sperrholz, hellblau bemalt, 366 × 786 × 106 cm, darmstadt

john carter, “untitled theme: pale blue and green” (1987), acrylic and marble powder on wood, 67,5 x 67,5 cm

john carter, “untitled theme: pale blue and green” (1987), acryl und marmorpuder auf holz, 67,5 × 67,5 cm

norman dilworth, “meander” (1991), installation at edition & galerie hoffmann, friedberg

norman dilworth, “meander” (1991), installation in edition & galerie hoffmann, friedberg

norman dilworth, “parts of a square” (1985), wood, painted, h: 270 cm, installation at edition & galerie hoffmann, friedberg

norman dilworth, “parts of a square” (1985), holz, braun bemalt, h: 270 cm, installation in edition & galerie hoffmann, friedberg

norman dilworth, “genesis” (1993), steel, wageningen

norman dilworth, “genesis” (1993), stahl, wageningen

michael kidner, “blue, green and white wave” (1964), oil on canvas, 216 × 132 cm

michael kidner, “blue, green and white wave” (1964), öl auf leinwand, 216 × 132 cm

michael kidner, “red, green, yellow, grey” (1966), oil on canvas, 168 x 183 cm

michael kidner, “red, green, yellow, grey” (1966), öl auf leinwand, 168 × 183 cm

eric snell, “joanna's ladder” (1991), ash of ladder on canvas, 240 x 120 cm

eric snell, “joanna's ladder” (1991), asche einer leiter auf leinwand, 240 × 120 cm

eric snell, “untitled” (1991), ash of chair on paper, 102 x 102 cm

eric snell, “untitled” (1991), asche eines stuhles auf papier, 102 × 102 cm

gary woodley, “transient structures” (1983)

gary woodley, “transient structures” (1983)

a view over the channel ...via guernsey
gary woodley, “adjacent spheres” (1988), drawing, 29 x 42 cm

gary woodley, “adjacent spheres” (1988), zeichnung, 29 × 42 cm

gary woodley, “path through 5 places” (1994), light installation, h: 21 m, at edition & galerie hoffmann, friedberg

gary woodley, “path through 5 places” (1994), lichtinstallation, h: 21 m, at edition & galerie hoffmann, friedberg

gary woodley, “impingement no. 20, adjacent spheres ii” (1990), drawing, installation, curven gallery, london

gary woodley, “impingement no. 20, adjacent spheres ii” (1990), drawing, installation, curven gallery, london

gary woodley, “impingement no. 20, adjacent spheres ii” (1990), curven gallery, london

werke

supported by the federal minister for culture and media, neustart kultur and stiftung kunstfonds

Gefördert von der Beauftragten der Bundesregierung für Kultur und Medien
Gefördert durch Neustart Kultur
Gefördert von der Stiftung Kunstfonds