The Line of Beauty + Special Guests
Domo Baal is delighted to present 'The Line of Beauty + Special Guests', the second of a two–part solo exhibition by Lothar Götz. 'The Line of Beauty' is Lothar Götz's first solo exhibition in London since his solo shows at Gasworks (2001) and Chisenhale Gallery (2002) and follows five solo exhibitions in public galleries in Germany and at Chapter in Cardiff (2001–2012). The exhibition shows new paintings and drawings as well as a site–specific mural entitled 'What makes boys dance?'.
'The Line of Beauty + Special Guests' includes works by Eric Bainbridge, Neil Gall, Joachim Grommek, Daniel Robert Hunziker, Paul Huxley, Ernst Wilhelm Nay, Ben Nicholson, Uli Nimptsch and George Shaw.
Lothar Götz has invited nine friends, colleagues and artists whose work has strongly influenced his own practice to contibute a work each to his solo show. 'The Line of Beauty + Special Guests' will also include five treasured items from Götz's collection of Nymphenburg and other porcelain. Götz will show fourteen new drawings that reflect these ongoing personal conversations.
Domo Baal is delighted to present 'The Line of Beauty', the first of a two–part solo exhibition by Lothar Götz. 'The Line of Beauty' will be Lothar Götz's first solo show in London and follows five solo exhibitions over the last two years in public galleries in Germany and at Chapter in Cardiff. The exhibition will show new studio–based work as well as a site–specific mural. Following on directly from the first part of this exhibition 'The Line of Beauty + Special Guests' (9 November to 22 December) will include works by Eric Bainbridge, Neil Gall, Joachim Grommek, Daniel Robert Hunziker, Paul Huxley, Ernst Wilhelm Nay, Ben Nicholson, Uli Nimptsch and George Shaw alongside a series of new drawings, each made in response to a work by each of the exhibiting guests.
Whilst Götz’s practice ranges in scale from site–specific wall paintings and room–sized spatial installations to paintings and drawings, there is a clear coherence and dialogue across his body of work through its continual referencing and engagement with ideas about architecture and space and its characteristic use of abstract geometric forms, fields and lines of intense colour, juxtaposed with one another.
His work is informed by real factors of circumstance, site, architecture or the particular inhabitants or histories of a building, space or place, but mixes these factors with further imaginary or fantasy ones. Similarly many of his drawings represent the floor plans of idealized dwellings, sometimes for specific people or historical figures, sometimes for imagined ones. Together they form part of an ongoing series exploring spatial ideas for domestic spaces: apartments, houses, bungalows, villas.
Colour in these drawings is used to denote the functions and atmospheres of rooms, or the situations and qualities of the surrounding landscape – whether a schloß set in a meadow or a bungalow overlooking the sea. It also cues off the identity of the person who is thought to live there, in a web of imaginative factors that continually feed into the geometrical arrangement of forms and the colour decisions for each drawing.
Götz sees colour as both beautiful and a key aspect of life that surrounds us, drawing comparison with other passions of his: gardens and flowers, and Nymphenburg porcelain.
Whilst Götz often references the creation of a garden or the making of a piece of architecture in his work, he sees his practice as opposite in process to that of architectural design, which concretizes ideas and designs as built form, connecting it rather to the Classical idea of art as active fantasy – something practiced as part of a personal strategy to escape from reality.
With many thanks to Aurel Scheibler, Berlin; Diana Eccles at The British Council; Von Bartha, Basel, rahncontemporary, Zürich; Matthew Reeves; Wilkinson Gallery; Sir Barry and Lady Wilson and Workplace Gallery, Gateshead for their generous support of this exhibition.