Thomas Supper I Focus on
The approach of Thomas Supper’s artistic work is conceptual painting. Painting on steel plates is made visible through heat and different temperatures. The voluntary impulse of alienation transforms profound and technical processes into painterly gestures. Fat insults and disturbs the material and creates a space of reflection and projection for the viewer and the omnipresent environment around him. A close connection between perspective and arrangement is created, an endless interplay between presence and the outside world. These conceptual paintings could probably best be described as „plastic material fields“, which find their starting point in the material: Steel and fat, worked in an induction oven. The oven is heated to 600 degrees and as a result violates the material in different ways. When the steel plate is positioned vertically in the oven, a gradient of colour is created, when it is positioned horizontally, a uniform one. Grease on the surface creates another layer of colour reduction. Large works are created in several modules. It is crucial to catch the exact time window so that the painterly colour nerve is hit.
Thomas Supper (b 1994, Oberwart/Burgenland) currently lives and works between Vienna and Feldbach, AT. Since 2018 Supper studies Transmedia Art at the University of Applied Arts in Vienna under Prof. Mag. Brigitte Kowanz. Since 2014 he has been working at the Loderer art foundry in Mühldorf near Feldbach.
Selected group exhibitions include: viennacontemporary; hayday mayday, (2019) Thomas Supper & Sophia Laysheva, Laurenz Space, Wien, AT (2020); Overstrained, KS Room, Kornberg, Feldbach, AT (2020), Chambre d'Ami·xes (Room of Friends), curated by Monika Georgieva (2021), Focus On Section, Galerie Kandlhofer 2021
The approach of Thomas Supper’s artistic work is conceptual painting. Painting on steel plates is made visible through heat and different temperatures. The voluntary impulse of alienation transforms profound and technical processes into painterly gestures. Fat insults and disturbs the material and creates a space of reflection and projection for the viewer and the omnipresent environment around him. A close connection between perspective and arrangement is created, an endless interplay between presence and the outside world. These conceptual paintings could probably best be described as „plastic material fields“, which find their starting point in the material: Steel and fat, worked in an induction oven. The oven is heated to 600 degrees and as a result violates the material in different ways. When the steel plate is positioned vertically in the oven, a gradient of colour is created, when it is positioned horizontally, a uniform one. Grease on the surface creates another layer of colour reduction. Large works are created in several modules. It is crucial to catch the exact time window so that the painterly colour nerve is hit.
