Sperone Westwater is pleased to announce an exhibition of new paintings by Dutch artist, Aaron van Erp, and an exhibition of new and recent paintings by German artist, Sebastian Ludwig. This is the first solo show for both artists in New York.
Still in their early 30s, Aaron van Erp and Sebastian Ludwig are part of a generation of artists working in the wake of German Neo-Expressionism. Both artists have incorporated a renewed commitment to painting and figurative representation, while developing a painting language and style that is truly unique.
The 5 new paintings by Aaron van Erp on view exemplify the style and subject matter that has brought the young artist wide acclaim throughout Europe. In these grimly humorous paintings, van Erp depicts everyday objects such as a shopping cart, a mattress and a potted plant within a bleary landscape. The landscapes themselves are composed of large, vaguely defined areas of paint, and are punctuated by partially-rendered figures. Although there is a decidedly somber and violent narrative element to these compositions, the disconcerting atmosphere is made absurd by the seemingly random placement of incomplete figures, buildings and household objects.
Aaron van Erp was born in Veghel, The Netherlands in 1978, and currently lives and works in Eindhoven. Important solo exhibitions of his work have been held at the Gemeentemuseum Den Hagg (2007) and the Museum Der Stadt Ratingen, Germany (2008). Among numerous group exhibitions, his work was recently included in “Netherlands – Germany” at the Gemeentemuseum Den Hagg (2006).
The 8 recently-completed paintings on view by Sebastian Ludwig depict both interior and exterior stage-like environments inhabited by people and animals. The architectural settings are composed of complex interlaced patterns, and the figures and shapes are rendered in varying shades of one color. Ludwig’s compositions are created through an unconventional and extensive process of layering paint, with sections of the work selectively masked off and spray painted. The resulting paintings appear to be both set atop and incised into the picture plane, and bring to mind works created in the German woodcut tradition.