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David
Gerstein
in Singapore
dimensionality of the cut and painted cars. The improved technique gave rise to
Gerstein went through different expressive strong characteristic graphic bravado,
phases, yet in all of them he brought with stylistic gestures of strong figuration,
together the biographical with the local. classical elements of drawing and
Marc Quinn:
traditional painting compositions. With
Over the years his image reservoir grew these came a great release of color and
to include trees, butterflies and birds, and a switch to shiny, sensual colors that
his painting technique improved until it celebrate life and its fullness, with their
A Profile
reached the formulation of handwriting, television-like flickering and their lack of
line and coloring which are uniquely his guilt and conflict. The respective shadow,
own. His images were treated again and which forms when the cutouts hang against
again, his funny figures internalized their the wall, is also taken into account as
slight stammer, their innocent absurdity part of Gerstein’s poetic duplication and
and their kindness, until they became more echoing effect.
Text: Elisabeth Chairil
and more graphic, automatic, spontaneous,
immediate, schematic, direct, with no David Gerstein one-man show runs from
double-lining; Merely a smiling gaze. 15th April to 6th May at Sunjin Galleries
at 43 Jalan Merah Saga, #03-62 Workloft
Before the metal cutouts with their @ Chipbee, Singapore 278115. For more
industrial-like process of production, information, please contact the gallery
Gerstein created works in painted at + 65 6738 2317 or email sales@
woodcuts. He painted the first of these sunjingalleries.com.sg. //
objects in the exact same manner as his
canvases - with conventional oil paints.
However, the transition to another medium
and material called for relevant paints
and painting techniques: super-lacquer,
stencils, tapes, airbrushes, etc. He tried
to liberate the “statues” cut in wood from
the flatness of the plywood. In order to
achieve an expressive, tangible effect
he covered the image’s surface with a
mixture of glue, sand and paint, and added
acrylic paint on top of the resulting rough
texture. However, it seems that even this
did not satisfy him. His quest for a suitable
personal language led him to metal,
forcing him to give up acrylic paint and
adopt industrial paint, since acrylic does
not take to metal.