To have a heart of gold – Silence is golden, speech is silver – All that glitters is not gold – Gold is part of a plot – What is gold is worth gold – What can gold not do? – the golden middle – the golden cut … Gold: rare, resistant, everlasting and desired since the dawn of mankind.
The big window reveals the beautiful garden view. It is tranquil, peaceful, quiet … nothing disturbs the concentration. The tabletop is filled with paints, cans of pigment, painting materials, brushes and so much more. Rupert Schoeder sits in his studio, barely taking in his surroundings, working. Lost in his work, he becomes one with his creation. Not an unusual scene in a studio. But looking closer you will find a material rarely used in today’s art: a gilded figure, shortly to be united with the canvas to form an object. Gold and art? Rupert Schroeder has faced the challenge of using gold as a working material and as means of expression. More over; he has put gold into the center of his work. Braking a taboo?
In today’s time, the combination of gold and art is commonly rejected. Many renowned artists have attempted this blend. Gold is not only referred to in proverbs, it is also
considered too beautiful, too crafty, too churchy; not really to be taken serious in an artistic debate. Gold emits light to such an extend, that it is barely compatible with other colors. It’s dominance crushes their effect. Its consistency and the continuity of its shine make gold an exceptional material.
It was material’s dominance that charmed and fascinated Rupert Schroeder. He attempted a change, approaching gold and its myth by integrating it into his colors and works. He wanted to integrate the immutable characteristics of gold into the cumulative effects of his work. The critical dispute with iridescent colors has long been a subject in Schroeder’s art. Now the appeal lay in giving gold a new effect in combination with other colors and illustrations.
However, a pure surface seemed too limited. It had to be a semi-sculpture. And that is how the draft of a beech leaf originated – sized approximately 20 x 10 cm. The draft was crafted into a wooden object which the gilder coated in 24 carat gold. During the gilding phase Rupert Schroeder dedicated his time to painting the base of the object, on which the gilded leaf would later be placed. A bright colored base resembling iridescent foliage was
created. On this painting and sculpture would compliment each in a picture box covered with museum glass.
This image-object “The Leaf” found its place in the living area. The artist gained some distance and repeatedly observed his backlit work from the couch across the room. In mid July around 5 pm he noticed the sun had gotten weaker and daylight was reclining. His eyes kept returning to the picture, where he noticed an interplay between brilliance and light that caused him great amazement. A hypnotic light moved from the edge to the middle and back again, changing the picture and its effect. The foliage of the base disappeared in the twilight, leaving only the golden object to be seen by the observer. Impressed by this light changing process, he hung up a second painting the following day. Hanging on the same spot, “The Runner” also showed the same lively changes influenced by daylight and time of day. In times, where more and more light installations are finding their way into museums, luminous advertisement is lining our roads, and streetlights blur our clear view of the stars, Rupert became aware of natural light in his works. He no longer wanted to withdraw from this impact. Impressed by this insight, he now worked on combining gold objects, canvasses and contextual debate and letting the variety of ideas and effects work on the observer.
Do the bright colors of the painting surfaces compete with the gold? Do they complement each other and intensify their effects? Or does gold set the tone? How does our pre-conceived relationship to gold work, when we look at exhibits that embody this resistant, everlasting, and desired metal, capable of changing the familiar valance?
The Collection “Golden objects 24 Carats”: This catalogue mostly portrays 40 hand-gilded wooden objects, average size between 15 and 35 cm. They “float” above a carrier at approximately 12 mm, a painting surface that relates to the motiv. Every piece is unique. The supporters are on steel, wood fiberboard, linen on carton, mainly however, on heavy handmade vat paper with a haptic surface. Manually blended, highly pigmented dyes are predominant in the paintings. Sculptures and canvasses in picture boxes, up to a size of 75 x 75 cm, protected by museum glass. The artistic design includes graphic, mostly figurative, contextual manners of painting.
“The SquarE” – every piece on the surface gilded differently.
technical execution / workmanship Ludwig Dunkel.
“Plumbers Sundays Bowler” – Compound of Gold and Palladium.
technical execution / workmanship Ludwig Dunkel.