The fear hare still runs away from his own shadow. But his
double attaches him, he can strike hooks as much he wants. We see them
runs hasty over the field, sometimes one of it tear off from the other one,
the shears
between the silhouettes opens and closes again, it snatches
how upper and lower jaws of the same mouth - whereafter? The scene becomes
a shadow play. A drama. Not a hare is on the flight, but one
or two signs, a letter and its mirror image, hop between the
lines around. The reader takes it in the visor. The rifle is strained. Naturally
he wants to hit the hare, not the shadow. Between mountain and deep, deep
valley. The signs interpret means: to take it in bag. The fear hare runs from
its own shadow away, but for the hunter is the internal disunion of the
hare no matter, he thinks about the roast. It is impossible to pull a shadow
his skin
over the ears. - how the hare loose his shadow? He thinks
possibly at selling, like Peter Schlemihl sold his shadow. The
hunter thinks, if the hare does not move itself and his shadow is hidden under
it,
then the shot hits, then the hare is dead. The sign interpreter
can put the sign into the pan, pepper and roast it, he can turn out a leg
and nibble it up to the bone. Good appetite.
Perhaps the hare was not a fear hare, perhaps he played only with its
shadow - however that is at the latest now also all the same.
But because we used once the word play... now we think about Art,
those the shot lets go into emptiness and the hare, which is jumped from the
shovel again, at running holds.
Sometimes holds it, the art, the hunter at the runs - not for those of its
gun, but completely practically: at the hind legs - up. But should
we not rashly think, the art always is by side of the hares. - As I learn to
know
the artist Juergen Hoeritzsch in the middle of the 80's, was noticeable for
me that he was an
original draughtsmen and printmaking artists, although some painting works already
exists at that time.
In considerable aggressive way, those of appeasing mind, to those also I
occasionally count, gladly "skurril" was called, brought he all kinds of scenes
out
the environment of the forester and game sows, heart thieves and wheel-driving
shark fish,
if I remember myself all its quite, to paper. Free ball caster, those, like
it seems, only therefore
going in pack hunting after the deer went, around itself
to put mutually back the horns. Target water drunkard with sing
of hymn in hunter latin, embarrassed wooddevel and frivole safety hooks,
bark beetle in loden-coats - all this is in the Chemnitzer (formerly Karl-Marx-Staedter)
surrounding of the ore mountains naturally no parable, but almost
reality. It is to find also today still (or even today) almost
daily in the wood between local input and local output sign.
In begin of the 90's the shapes became gradually ever more abstract.
Those strange, every now and then population reminding of drawings of George
Grosz, those
Hoeritzsch's earlier pictures had populated, increased, however always reduced
more on graphic contractions, so that at the end an almost mass of insects appeared.
On the place of structured scenes strips, changed from those
itself first such a thing like poetic structures (line, writing block, board,
Comics etc..) , later the artist solve himself and began developed away also
to operate with characters, to finally the figure comes again on the canvas,
the
print plate, the paper returned.
The painting of Juergen Hoeritzsch is unmistakable shaped by the printing-graphic
experience. Before still the question, how is it made, appears, takes
the viewer truely that all these pictures have a thrill between one
or several central figures and a very economically arranged background,
better to say: background. Usually is it monochrome or nevertheless
from few monochromen surfaces constructed, very rarely in a certain
spatialness. The figures (or characters) are like coats of arms on a flag,
like animals in the snow, cosmonauts in the space or stamps on the paper. In
their
inside does which, outwardly does little. Certainly, they have a
expression, in which they trust fully and completely.
Technically we have to do not really with painting, but with a kind of
mixing technique, in whose center the collage is located. With rubber Arabicum
assembled forms of transparent papers, often already also
drawed are provided, continue to become after laying on still
processed. Occasionally also the background is then still corrected.
I detect on the paintings of Juergen Hoeritzsch, which when interpreting
reality as sign is lost: their blur and their independent existence -
thus: the "aura" and the "framework", which is shining through. As is the case
for larva, foetus,
mummy or radiograph. In addition, that is only a possible interpretation (or
suggestion) and only one part of the truth.
The work with mirror-image or differently congruent forms starts again
the origin of the board pictures from the printing graph think, of the reprint
or
removed to so-called Klecksographien, whereby it Juergen Hoeritzsch always over
an inaccurate reflection, around a clear shift of the accents, one
to go other interpretation or at least around a break in the symmetry
seems. The clone experiment was here already from the outset to fail.
Thus the paintings are also a lesson about figure at all.
For Juergen Hoeritzsch, which as a long and thoroughly an everything that
it touched,
planning and thoughtful artist known is, is its picture titles an
important part of the artwork. Often they have a function as a type code
to the picture, although they open it naturally only for an acces and
wants never interpret it completely.
Embarrassment titles how "large figure on red ground" or "without title" do
Hoeritzsch not use. On the other hand it will not be allowed to expect that
the artist
the ambiguity and the often puzzling, that give its work their
charm, their attraction and its wisdom give, in favor of so-called clearer
predicates takes back. One does not become falsegoes, always in the reason an
ironical
to subordinate attitude, also or even, where serious topics begun to cut
are (as for instance in the painting "Jesus strikes back") or pleasant, if necessary
melancholic tendencies to prevail seem ("Maria with cat ",
"parting and return"). This attitude is however at the same time also the one
moralists, which believes in the usefulness of mental impetuses.
Remarkably that its most frequently in the picture set animal character that
hare and not the fox are. But if we watch it a longer time, it looks out, as
even that can become completely foxi every now and then.