Gabriele Schöne

Mittwochabend, 2018


Gabriele Schöne
(born 1961 in Mistelbach)

Mittwochabend, 2018, for the art in print series women I 

Lithograph in two colours, printed on Magnani Incisioni paper by Rudi Hörschläger, Druckwerkstatt Uferstöckl, Wallsee/Lower Austria

Edition of 33 + 5 AP + 2 EP + 2 PP

Signed, titled, dated and numbered by the artist

Image size : 40,1 x 30,4 cm
Paper size : 50 x 40 cm

Gabriele Schöne

1961 // born in Mistelbach – lives and works in Vienna
1980–1986 // Degree course at the University for Applied Arts in Vienna
1985 // International scholarship in Rome
1995 // One-year working stay in Los Angeles
2001 // Scholarship in Paliano (Italy)

Selection of exhibitions

2018 // KUNSTradeln, Millstatt
Unmittelbar, Galerie Jünger, Wien
2017 // „Ausgeschnitten“ Galerie Jünger, Wien
2017 // summerstage, open art, Wien
2016 // Parallel Vienna, Wien
2015 // Parallel Vienna, Wien

Nature plays an important role in my work. It does not, however, consist of studies of nature, but taking into consideration everything that links us with nature and therefore features in our wishful thinking. In my scenic idylls, goats, pigs, cows and all kinds of other animals romp around as silhouettes. In the background, the landscape is picturesque, the white areas of the silhouetted animals reflecting the distance between people and nature. Then there are the silhouettes of the dancing couples, which have the effect of having been cut out against their backdrop of fabric that is used for dirndls. I also very much enjoy making use of the gentle, charming scenes by Goya, seeming idylls geared towards celebration and tradition, and I incorporate them in my work as well. Gabriele Schöne, 2018

About the artist

Empty shapes stand in the centre of the images by Gabriele Schöne. These blank patches, in which the whitewashed canvas stands out from the coloured paint and patterned fabric applications, are always the pivot points and linchpins of a whole made out of different layers of images. Furthermore, the empty spaces that can also be discerned as clear shapes because of their contours – from the fruit to the jumping girl, the dancing couple to the mother and her child and larger groups of figures – achieve an ambivalent balance between presence and absence, appearing to unfurl their impact first as something invisible. The shape arises from the connections that surround it, the link between them creates a blank in the middle.

For on the one hand there is the dancer, the dancing couple in traditional costume, which are easily discernible even in silhouette. These twists as a pair lie in the visual atlas of the memory. The templates even come from the tabloids, beyond the ironic gestures, from the critical detachment to a media world of false images of home, there is, however, a reminiscence of your own story in the artistic adaptation. Home for Gabriele Schöne was always somewhere else – the summer in the countryside at her grandmother’s house that became an idyll frozen in time; or her father’s place of yearning in the (former) GDR.

Accompanying the dance in traditional costume are the fabrics. Diverse and with traditional patterns, they become a formative environment, the backdrop to the figures. The fact that the fabrics are partly worn seems to testify to a further level of reality that evokes a genuine existence in the illusion of the image. (Daniela Hölzl , 2015)

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