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This piece was created by using a custom created tool, which functions like a huge calligraphy nib (it is wider than the surface of the artwork), which forces the whole body to write. As the tool crosses over earlier layers of gestures, weaving textures appear, the tool starts vibrating, which generates wave-like structures in places.
Einfallspinsel 5 was painted in circa 40 layers, with a special technique that lets the colours shift as you look… on from different angles. The piece never stays the same.
The frame was custom made and painted in the same way as the piece. This artwork can be hung horizontally, or vertically in order to highlight the changes in colour and mood depending on your viewpoint in the room.
All titles from this series use wordplay, in this case Einfallspinsel (play on German: Einfaltspinsel) hints at the idea that the brush acts as author, creating the idea, or the sign.
Lucas Stolz (*1985 in Basel, Switzerland) understands calligraphy as a painterly act. Writing as a developmental process for images in which words dissolve, signs as traces of a body that writes, where it could also paint.
In his work, he explores four fundamental levels of handwriting: the invention and transformation of signs; continuous writing, which, through repetition, makes humanity visible; the development of custom writing tools, that shape the stroke; and the analysis and repurposing of materials from writing cultures, leading to experiments with sand, pigments and wood.
The artist develops tools and techniques that are idiosyncratic, almost defiant. They demand physical effort, they distort, chop, and multiply the stroke—giving it temperament. This process highlights the question of authorship: Who is writing here—the hand, the tool, or the surface?