Technic: Mixed Media / Colorphonie℠ (Combined Painting & Photography) Painting in the 3 dimensional space with oil and acrylic paint.We’re leaving the canvas to seek new ways .. Color does not just have to be in the 2nd dimension, it can also be in the 3nd dimension … we want to explore what’s still possible
TEXT by: Dr. G.C. Rump (Gerhard Charles Rump) is an art historian and theorist, his main area is in the field of contemporary art. He is also a private lecturer for the T.U. (Technical University) Berlin, a curator, gallery owner and a photographic artist. https://de.wikipedia.org/wiki/Gerhard_Charles_Rump
MMB English Opening August 2019 (Galerie Makowski)
Color is not a property of objects. Form is one of those characteristics, or density. Color is only a reaction of our perception to certain frequencies of light reflected from objects. That is very easy to check, you only have to subject a cube you perceive as green, to red light. It will stay a cube, but its color will inevitably change.
What’s happening, once color takes on a certain form? Mind you, we are dealing with the situation that a certain form is inextricably intertwined with color. The question is very easy to be answered. Inextricable it may be, but color remains changeable. Being inextricable is only relevant in relation to one specific existing situation, which only is and always will be one of very many possible ones.
The colors in the works of Mike and Madeleine Buelow show us that, by their very own specific forms, there is something like a very intimate connection of form and color, which is aesthetically effective, but which also can show us, at the same time, the material aspects of color. And that is very much and quite decisively a problem of the aesthetics of Modernism. Modernism has made the means of art, its methods and processes, a subject. Let us be generous and disregard early forms of that like the aesthetic savoring of jewels.
Modernism knows several types of the treatment of color. In painting there is something like the emphasis on the immaterial qualities of color, or, contrariwise, the material aspects. The immaterial is, for instance, reigning supreme in the work of Fred Thieler and Heinz Mack. Three modern artists stand out unequivocally in their use of the material aspects of colors: Gerrit Benner, Bram Bogart, and Emil Schumacher. But very often we find it also in the works of other artists, like Willi Baumeister or Carl Buchheister, and, furthermore, such aspects have repeatedly been important for painters like Karel Appel and Christopher Lehmpfuhl.
The works of Mike and Madeleine Buelow bring such phenomena to a completely new level. Here color is mounting the stage in one and as one single form, as a body of color. This body of color receives its form through controlled chance, by the combination of the aesthetic will to form and the physical conditions of the basic situation.
Mike and Madeleine Buelow use a liquid medium colors are mixed into. Mechanical manipulations generate exquisite and bizarre forms, which, almost without any inner variations, rule the appearance of the colors. The gestalt principles of our perception make us look through the many halls of our imaginary museum in order to find something similar, something we have seen before. And so it can happen that we experience figurative associations, which may show us a very elegant mushroom here, a moving body there, or a whole situation in which something dramatic seems to happen. That is both inevitable and legitimate.
The legitimation of such phenomena is founded in the fact that the artists allow them. In the production of the works they enjoy all freedom, which means that they, at any time and without any problem, can make a decision against such figurative associations.
And if our perception cannot really come to grips with the figurations and constellations in the works, we are falling back on the bizarre and exquisite forms themselves, which then will be endowed with an emotional value. So we also learn that aesthetic structures do not have a meaning, and that they only put meanings in order and allow connections to emotional qualities (as opposed to semantic ones).
The situations called up in the process of production are then fixed photographically. A certain stage (or arrangement) is being chosen, marking just one special one out of very many possible ones. After that, it is not reproducible, cannot be repeated, and finally will not exist any more. It can’t be repeated because it is based on entropy – and we already know that from Alice behind the mirror (“Through the Looking Glass”): Humpty Dumpty, known from traditional children’s verses, cannot be put together again.
Structurally we have processes here, which are quite similar to those known from quantum mechanics. But above all, they also possess this breathtaking facticity of being as they are, and that is not to be disposed of. The three-dimensionality of the basic situation makes the works stand out in a special way, like their being their own little universe, and reminds us of the galaxy hanging from the collar of the cat in the film-trilogy of the Men In Black.
I often have the impression that this cat is a close relative of the Cheshire Cat from Alice: once she communicates something, she explains something, or shows us the way – all that will disappear the next moment and we are, again, left alone and no wiser. The same happens with the situations we witness in the works of Mike and Madeleine Buelow: The moment we think we have understood what’s happening, we get the uncanny feeling that we might not have understood anything. But we have our experiences. So the works always demand a new and repeated occupation with them, and that means that the production process generates a perception process, which is equivalent to active life and living culture.
Physics is, as we all know, about that which holds the word together in its innermost core. Art, especially the art of Mike and Madeleine Buelow, shows us a very important aspect of this relation: Knowledge is gained by those who never stop striving for it.
Gerhard Charles Rump Berlin, August 2019
Mike Bülow has a musical background, having worked with numerous record labels for 20 years. He released 4 Albums and 16 singles with labels like MfS Records, Flesh, Universal Music, Sony and Warner. He worked, for instance with Marcos Lopez and Bernard Sumner of the British Band „New Order“, (Armani & Masto, The Sound of Sage 2 – taxi 4; Masto & Cain (for Dream Dance), Berlin Bitch (for Universal Music) and he had many acts for the „Love Parade” in Berlin, performances at the E-Werk event location in Berlin. He also had gigs at the Cannes music festival..
He began his career as a photo artist with the project “Symphonies of Colors” he launched in 2012 together with his wife Madeleine Bülow. They began experimenting with colors suspended in a liquid medium to create an aesthetic experience.. The works have been exhibited around Europe, like 2013 in Salzburg (Austria), 2014 in Berlin and London, 2015 in Berlin and Ibiza (Spain) and 2016 in Austria, Cannes and Paris.
Madeleine Bülow spent her teenage years experimenting with colored pencils Around 2001 she developed a strong interest for abstract art and began working with acrylic paint on canvas. 2004 she moved to Berlin. From 2004 to 2006 she worked voluntarily for an art project for kids aged 3-4 years, in 2012 she launched the “Symphonies of Colors” project (s. a.)
Blue Marlin Ibiza Magazine / BMI:MAG ( 06.2019 )
ArtNews The Winter – Spring 2018 2019 edition (New York)
Dear Friends, We are very honored and excited to be in ARTnews, one of the premier Art Publications in the US, and around the world. The Winter – Spring 2018 2019 edition is just now published and we have a full color page.