Mountains and blossoms are natural parts of our everyday lives—and at the same time symbols of grandeur and beauty. In religions, they represent closeness to the divine and new beginnings; in secular contexts, they inspire awe for the power of nature. Their forms arise without conscious design, yet appear completely harmonious. Mehr...
For a long time, nature served only as a backdrop in art: mountains were the setting for biblical events, flowers carried symbolic meaning. It was not until the 19th century that nature itself took center stage—as a projection screen of longing for the “lost paradise.” This fascination continues to shape our relationship with nature to this day, from romantic landscape paintings to Instagram photos.
Katharina Gierlach’s (born 1983, Würzburg) and JKB Fletcher’s (born 1982, Solihull, UK) paintings approach this theme in very different ways. Gierlach's works glow with life, seeming to grow out of the canvas and unfolding an expressive richness of color. Fletcher, on the other hand, works in a restrained, meditative, monochrome style. His large-format paintings thrive on reduction and silence.
What connects the two is their classic, painterly approaches — and a unique view of the whole: up close, their works appear abstract and illegible, but from a distance, they reveal themselves as mountains or flowers. This perspective invites us to take a step back—both literally and figuratively.
Because only from a distance can you see what really matters: the clarity and beauty of the big picture, which transcends the sometimes confusing details of everyday life.
From September 11th to 14th we are exhibiting at Positions Berlin Art Fair in hangar 7 at Tempelhof Airport. Visit us there: booth C04.
On Sunday, September 28th from 3 to 6 pm we will be opening our upcoming show "Formations" with new works by JKB Fletcher and Katharina Gierlach. We look forward to welcoming you.
The architecture of time-out
29. June - 07. September 2025
A warm invitation to our summer exhibition with works by Michael Craig-Martin, Leonard Korbus, Hein Spellmann, Charlotte Trossbach and Konrad Winter. Opening on Sunday, June 29th, from 3 to 6 pm.
After several postponements, the DavisKlemmGallery is presenting an exhibition of new works by American artist Peter Anton. Known for his larger-than-life sculptures of sweets and food, for this exhibition he has put together a mixture of familiar subjects (chocolates and donuts) and new ones - such as French Crullers (a spritz cake made from choux pastry) decorated with colorful icing. Mehr...
The centerpiece of the exhibition, however, is a breakfast classic: fried eggs - “sunny side up”, of course. The number of twelve eggs refers to the typical packaging unit in the United States - one dozen eggs. As with real eggs, the color of the yolk varies - from sunny yellow to bright orange. They also differ in many small details - how the egg white sets around the yolk, or the air bubbles appear in different places when frying. The twelve eggs are similar - and yet their details make each of them unique.
With regard to eggs and everything that is cooked and baked with eggs, art historian Linda Traut emphasized at the opening of the exhibition that we, the artist Peter Anton and, above all, Americans have a different perspective on the subject today than five years ago. The enormous price increases for eggs in the USA and the general inflation played a major role in the presidential election campaign ... and the egg crisis continues - despite campaign promises. The cause of the egg crisis in the USA is the bird flu, which has meant that over 30 million laying hens have had to be culled on the huge poultry farms with factory farming in order to contain the disease. So many animals cannot be replaced so quickly - after all, you need hens to lay eggs. Neither quickly signed decrees nor advisors can help.
And this raises the question of what humanity learns from crises – or chooses to ignore . In recent years, many people have become more aware of the challenges posed by climate change. Concerns about biodiversity, animal, plant and human welfare have increased. This sensitivity has led to a new perspective on Peter Anton's tempting delicacies. Where enjoyment and consumption used to be seen as an innocent matter of course, there is now a new “superstructure” of economic, political and health concerns. Giant fried eggs and oversized donuts are joined by a pink elephant in the room: is this form of consumption still in keeping with the times?
Peter Anton manages to combine these questions with craftsmanship and low-threshold ease in an incomparable way. There are no raised index fingers in the room. Rather, Anton joins in with the original and very human enthusiasm for enjoyment and food. His motifs remain the same, but times are changing and have added a few question marks. Peter Anton's works thus gain even more depth and topicality.
DavisKlemmGallery presents the exhibition “Fields of Color” from January 26th till March 29th, 2025. It unites two positions that expand the possibilities of color field painting and abstraction in an individual way. While Maria Wallenstål-Schoenberg unfolds a painterly sensuality with her luminous color fields and dynamic structures, Julian Opie reduces the world to clear forms and lines. Together they start a dialogue between abstraction and simplification, between color and form.
From Color Field to Fields of Color:
Maria Wallenstål-Schoenberg's abstract works thrive on the intensity and presence of their colors. The artist uses a palette knife to apply oil paint to canvas, creating vibrant surfaces that convey both clarity and depth. From a distance, her color fields appear two-dimensional, but up close they reveal a complexity that constantly challenges the eye
In contrast, Julian Opie simplifies the real world into geometric shapes. His landscape series, for example, uses colored triangles that converge in a central vanishing point. Opie's works such as “Crossing” captivate with their changing colors, which switch depending on the viewing angle. Together, the two show how abstract art can lead to an intense visual experience
On Color Field Painting and emotion:
Large, uniform surfaces - pure color and pure emotion. Without color field painting, much of today's art would be inconceivable. This is particularly true of Maria Wallenstål-Schoenberg's luminous works. As one of the most important trends in abstract art, which originated in the USA in the 1940s and 1950s, color field painting continues to have an impact today. The best-known representatives include Mark Rothko, whose works have an almost meditative effect, Barnett Newman, who creates tension through his “zips” (narrow vertical lines), and Helen Frankenthaler, who developed the “soak stain” technique, allowing color fields to flow onto canvases..
The works of Maria Wallenstål-Schoenberg and Julian Opie show a clear connection to color field painting. Wallenstål-Schoenberg takes up the idea of large, luminous areas of color, but adds a tactile, vibrant texture that expands the traditional approach. Opie's works, although less painterly, use a similar reduction and color effect to create an emotional and aesthetic intensity.
Color space:
The exhibition “Fields of Color” offers an exciting interpretation and further development of color field painting. On a tour of the gallery, the contrasting hanging of the works is striking: Wallenstål-Schoenberg's works with their intense, vibrant colors are in dialogue with Opie's clear lines and two-dimensional compositions. Viewers experience how color and form open up spaces and activate perception.
Wallenstål-Schoenberg's large-format works, for example, with their vibrant pink and orange tones, are like windows to a lively, emotional world. Opie's abstract depictions of walkers or landscapes create a calming yet dynamic effect through their geometric precision. Together, the two create a visual journey that takes us both into the past of color field painting and into the present.
Biographical infos:
Maria Wallenstål-Schoenberg, born 1959 in Uppsala, Sweden, geboren, studied at the University of Uppsala. After moving to Germany, she took art courses with lecturer Clemens Etz in Ulm and with Prof. Jerry Zeniuk at the Munich Art Academy. In addition to numerous private collections, her works can be found at the Museo Irpino, Avellino, Italy, and at the Technical University of Munich, among others. She lives and works in Munich and Sweden.
Julian Opie, born 1958 in London, studied at Chelsea School of Art and at Goldsmiths School of Art. His unmistakable works with clear contours and flat colors are appreciated worldwide. One of his most recent projects in public spaces is „Promenade à Paris“ at Porte de Clichy Metro Station (2024). His works can be found in numerous museums, including the Tate Modern in London and the MOMA in New York. He lives and works in London.
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