Patrick Heide Contemporary Art, London

11 Church Street, London NW8 8EE, U.K.



A genuinely conceptual approach on the one hand and a moment of contingency and transcendental aura on the other, determine the five positions presented by Patrick Heide Contemporary Art at this year’s edition of VOLTA Basel. What unites the works is an underlying tension between technique and poetry, simplicity and perfection and the sincerity with which the represented artists fulfill their self-appointed artistic inquiries.

Minjung Kim’s work captivates through its beauty and fragility by combining her idiosyncratic burning technique with ink markings. Abstract in her use of forms, Minjung Kim introduces space and transience of time by layering the paper and burning sections to generate three dimensionality as well as spirituality. Reinoud Oudshoorn in turn takes the illusionary language of painting and applies it to sculpture to form a bridge between the spatial illusion of a flat surface and the concrete reality of a physical object.

David Connearn’s minimalist drawings remain true to one simple, almost philosophical concept: He draws lines from top to bottom each line following the path of the one before, always freehand, mostly left to right. Each line though also errs and veers off its intended track, converging with or diverging from the line above, and setting a new track for the next.

Thomas Müller on the contrary lets drawing develop in any direction, always abstract and process based, in an attempt to capture the essence of drawing as such. Ballpoint pen drawings of dense thin parallel lines are created next to motifs of organic weaving in black crayon and then opposed to almost imperceptible doodles in graphite or colour pencil.

The painting position introduced at VOLTA 13 complements yet also contrasts the other presented works. Working outside of conventions and always experimenting with painting as such, Andy Harper quotes art history to the same extent as pop culture. His paintings are astonishing in technique and execution but always remain unpredictable by risking the new and unorthodox.

David Connearn, Para (Landscape), 2012-17, Black ink on 300g/sm, Heritage Rag paper, 9 plates (12-17), 29.7 x 42 cm each
Andy Harper, Gua, 2016, Oil on canvas, 35 x 35 cm
Reinoud Oudshoorn, Untitled H-15, 2015, Wood, 93 x 80 x 26 cm
Reinoud Oudshoorn, Untitled P-16, 2016, Iron and frosted glass, 64 x 74 x 25 cm
Thomas Müller, Untitled (PH 421), 2012, Pencil, Indian ink & oil on Arches paper, 160 x 115 cm
Minjung Kim, The Street (15-035), 2015, Mixed media on mulberry Hanji paper, 130 x 162 cm