Monochrome and reduced to the most essential, these graphics appear neither brittle nor unapproachable. Distance is suspended by the graphite’s velvety surface feel. The material of choice interacts favourably with the incidence of light, bringing forth the surface’s liveliness. Variations of the graphites’ impressions just happen by time and space alterations of light source.
For the making of these graphics, graphite is pulverized to dust, then dabbed onto the paper by use of several tools and techniques. In that way dispersions and concentrations as well as harmonious lines emerge.
The works of the series „Schutzräume – do we have a second chance“ are quiet, associative and sometimes puzzling. Schematic figures emerge sometimes more, sometimes less clearly from a color-reduced background. The face of an iconic young woman in profile directs the view into the distance. The soft contours of the portraits merge with the background. When looking closely, it becomes clear that behind the woman the outlines of another body are concealed. Is it her shadow? A young man in a suit looks at us confidently. He stands in an undefined, square-shaped space, which appears more real than the man: Like a slowly fading memory, his body dissolves. In another work of the series, a fair-haired mannequin meets her own image. A game of approach and detachment arises. Where do the pictures come from? What do they tell us?
Ute Fischer-Dieter works with finds, high-quality and aesthetically pleasing advertising leaflets. Through their operation of the transillumination, the front and rear of the magazines enter into a dialogue with each other. People and objects meet, which do not belong directly to each other. New pictures emerge, stories are told again in a new context.
For the production of the work, the found material is first prepared manually. Subsequently the individual pages are overprinted with delicate gouache tones in the screen printing process. The screen stencil is obtained from a handmade paper by exposing the sheet to the coated screen. During the printing process, the original images are not completely concealed thanks to a translucent color application – much more, they appear mysteriously through the color layers. At the edge of the picture, the printing inks run out slowly and frame the image in the center. Since the printed fields are not exactly superimposed on one another, the different color layers become visible. They differ in light nuances. Finally, the work is photographed against light and printed on high-quality, haptic-looking paper. As a result, the full prospectus is transferred to an unique copy in order to be transferred to a duplication technique in a final step.
The handcrafted work of art limited to a few copies, contradicts the mass production of the used prospectuses. The same is true for paper used as printing stencil. Today this paper is often very cheap available, as it has been mostly produced in countries with low wages and in large quantities.
The Artist’s Books
At the turn of each page, the artist’s books unfold new spheres, into which the viewer is actively involved: pages want to be opened, touched, browsed through, each message demands to be discovered.This creates an intimate relationship to the books: the viewer’s distance to this artwork is overcome by his haptic experience. The artist’s books, that have been created in the course of years, bear titles such as „Mein Napf“, „Eintopf“, „Hier, wo wir uns begegnen“. They usually focus on one single object. This common object then is – as the book develops – thoroughly analysed and portrayed. The „Eintopf“, a tureen’s cover of bright china, may completely fill one page, on another page it is sketched rather incidentally. Simultaneously, the viewer’s perspective on the object changes. The tureen’s cover is depicted frontally as well as from top, from below and en detail. Over and again new perspectives of the mundane objects are illustrated; the viewer is invited to look closely. On second glance it becomes obvious that the background reveals more than expected. Human silhouettes and structures emerge. They tell of the metamorphosis the catalogue has gone through. A print-magazine, the artist has come upon, serves as outset of her processing work. The catalogue is then coated with primer, carefully avoiding to obscure the print completely. The primer is lavishly applied using a spatula which creates a straight, haptic structured surface. This provides inspiration and initial orientation for further paintwork on the pages.
Ute Fischer-Dieter observes, examines and questions things of everyday life. She starts out with apparently worthless objects, such as stale bread rolls, red cabbage or packing materials. Experimentally she further processes these. Acting on first impulse, these everyday objects are subsequently transformed into artistic work, further remodelled and questioned over and again. Thus, she sensitizes her artist’s perspective on everyday life – life belongs to art, just as art belongs to life.
Studies of Empirical Cultural Sciences at Eberhard Karls Universität Tübingen. Vocational training as Visual Merchandiser and ensuing self-employment. Widespread project-work for the conception „Kunst am Bau“ as member of Planungsgruppe „Punkt 3“. Advanced training and education in various fields of art, instructed as well as autodidactical. Participation in group exhibitions in Berlin, Braunschweig, Filderstadt, Rom, Rüsselsheim and Stuttgart. Curatorial work at the Domberger Collection „Eine Siebdrucksammlung des Landes Baden Württemberg“, owned by the Land Baden-Württemberg. Teaching lessons and workshops at Filderstadt’s art school. Lives and works in the Stuttgart region.