Gottfried Ecker

 

Artist Gottfried Ecker lives in Vienna and has been making paintings and sculptures for quite some time now.
Like Pablo Picasso, Francis Bacon, and Markus Lüpertz before him, Gottfried Ecker is fascinated by Nicolas Poussin, one of the most important painters of the French Baroque. Poussin developed figural compositions using wax models that he arranged inside a peepshow box in order to visualize spatial constellations, size ratios, buildings, and perspectives.
With the sculpture titled Poussins Bühne (Poussin’s Stage), Ecker has created a modified dollhouse kitchen, a similar situation built up using constellations of figures and objects, which he goes on to paint in the second step. The etchings and watercolors in the Kopfschleuder (Head Shooter) series are the results of the spatial and staged situations that have been typical of Ecker’s work since 2002.
The fact that Ecker has studied Poussin’s color palate in detail can be seen in a hands-on sculpture that lets visitors create their own personal color combinations. Poussin’s mythological, allegorical, and religious themes reappear in Ecker’s ceramic work Gänse (Geese) and the wooden sculptures of the Sarkophage (Sarcophagi) series, in reference to Poussin’s numerous drawings of antique sarcophagi and reliefs. Multi-part canvas wall installations in different sizes and wooden sculptures play with Poussin’s lighting moods.
Ecker’s multifaceted art pieces create highly exciting image spaces. He breaks Poussin’s idealized landscapes and heroic scenes down to a poetic and sometimes also humorous and playful level, putting the academically and formally influenced French painter’s work into a whole new light.
Hartwig Knack

 

 

The theme in Gottfried Ecker’s drawings, paintings, and sculptures is the creation of image spaces, which he relates to art historical developments, taking into account our visual habits.
Using traditional image and design elements, he realizes a complex artistic concept.
His artistic methods range from drawing to sculpture and spatial installations that can, however, be classified in the field of painting and drawing.

At first glance in particular, his seemingly unobtrusive situations and extremely careful arrangements of the presentation perspectives, the combinations of objects, are there to test the most acute sensitivity. Gottfried Ecker acts with great implicitness, hints at a note of irony, and has a tendency to near-offensive understatement.
In this way, he creates spaces between reality, dream, utopia, and illusion, in which the atmosphere wavers between the threatening and the melancholy.