Landscape and Cosmos in Geometric Forms: the Romantic of the New Millennium

Andreas Werner's (*1984 in Merseburg an der Saale) key encounter with Caspar David Friedrich's Eismeer (The Arctic Ocean) in the Hamburg Kunsthalle led him to approach the representation of nature and landscape and translate them into geometric forms. His Eisberg (Iceberg), Landscape and Vastness series pay homage, so to speak, to the early Romantic. Werner interweaves geological processes into these geometric landscape scenes by integrating seismographic traces and stratifications into the works.

In addition to his creative focus on the sombre, »utopian-atmospheric« climate of nature and landscape, Werner also produces abstract works whose common interface is geometric forms. His more recent paintings, meanwhile, convey more cosmic impressions - not for nothing were parts of them already on show in 2019 in the group exhibition Ticket to the Moon at Kunsthalle Krems. They show graphite-blackened rocket objects, space routes and surveys of galaxies, presented in self-made showcases as a pseudo-scientific addition. From 20 November, the Kunsthalle Krems in Krems an der Donau (Lower Austria) is devoting itself to the comprehensive solo exhibition Galaktal, in which it presents excerpts from Werner's complete oeuvre created to date.

Andreas Werner, who lives in Austria, considers himself a romantic of the new millennium and claims to have a penchant for futurism and utopian reveries.