Pia Fries
Pia Fries ( born October 6, 1955 in Beromunster, Switzerland ) is a Swiss painter. She lives and works in Dusseldorf.
Biography
After studying at the School of Art Lucerne, where she attended the sculpture class from 1977 to 1980 with Anton Egloff, Pia Fries moved to the Dusseldorf Art Academy. She studied there from 1980 to 1986 painting, a master student of Gerhard Richter. 1998-2000 she taught painting at the Art Academy in Dusseldorf. 2000-2001 she was a visiting professor at the Art Academy in Karlsruhe. Since October 2009, Fries is a professor at the University of Arts Berlin, since 2007, previously she was there already a guest professor.
Attracted international attention in their work at the 1999 Venice Biennale, where she was Dapertutto shown by Harald Szeemann in the context of; Since then, numerous international exhibitions.
Work
From the outset, Pia Fries, has questioned the usual notion of the image as an image, which reflects an understanding previously thought to reality in her paintings. While she sits in her early works, such as Untitled ( Bird ) ( 1981), with the figuration apart, but her particular interest in the intrinsic value of the color and its effect. The autonomy of color can lead to the dissolution of motives. Since the late 1980s, Pia Fries works exclusively non-representational. The surface structure of the compact applied differentiated color that is compacted into stacked color blocks Fries reflected color as the material and the material of the painting. From the early 1990s occurs, increasing differentiation of figure and ground in the place of a full layers of paint covered the image carrier. On the now left visible white gesso individual picture elements win a symbolic character. Due to the different processing of color and the use of various tools for their job, the materials properties, the sensual and emotional qualities of color on their iconic possibilities are assayed for without the abstraction is left. Since 2000, Pia Fries is a screen printing as another pixel. The motives of screen printing, on the one hand objects - like a shell, an ear - on the other hand edited and photographed by the artist material - such as color chunk, tied ribbons, crumpled crepe paper or fabric scraps - show, bring a an illusionistic moment in the painting. The problem of technically reproduced image is virulent in its significance for the painting. But it is not the aim of the use of photographic reproduction processes at Pia Fries on the transparency of representation and recognition of what is represented, but recalls that reproductions become independent and gain a life of their own, which they detach from their reference function.
Exhibitions (selection)
Awards (selection )
Literature (selection )
- Pia Fries. Texts by Martin Schwander and Max Wechsler. Kunstmuseum, Lucerne 1992.
- Pia Fries: seven works on paper. Text by Paul Goodman. Community Gallery Benzeholz, Meggen 1995.
- Pia Fries. Texts by Stephan Berg, Beat Wismer, Guide de Werd and Barbara Koster. Kunstverein Freiburg, Freiburg 1997.
- Pia Fries: parse and modules. Texts by Hans Brändli, Valeria Liebermann and Bernd Finkeldey. Richter Verlag, Dusseldorf 1999.
- Pia Fries painting 1990-2007, texts by Dieter Schwarz, Dave Hickey, Heinz Liesbrock, Paul Goodman, Iris Vienna. Richter Verlag, Dusseldorf, 2007.
- Jens Peter Koerver: Everything at once: multilingual Pictures In: Noema art journal, No. 50, January-March 1999, pp. 60-64.
- The memory of the painting: A reading book for painting in the 20th century. Edited by Sibylle Omlin and Beat Wismer. Walther König, Cologne 2000, p 409
- Dana Friis- Hansen: Pia Fries. Vitamin P. New Perspectives in Painting. Edited by Barry Schwabsky. Phaidon, London 2002, pp. 110-111.