Stefan Winsperger.

Stefan Wirnsperger
1985 born in Tamsweg, Austria
2011 Fine Arts Painting Diploma at the University of Applied Arts Vienna
2014 recipient of the annual scholarship for Fine Arts by the federal state of Salzburg
2016 Award for best documentary (Austrian American Short Film Festival, Austrian Cultural
Forum New York) and best fiction (Latium Film Festival, Mexico City) for “Tito” (together with Hannah Öllinger and Manfred Rainer)
Since 2018 university assistant at the University of Applied Arts Vienna.
Project and residency stipends in Istanbul, Mexico City, Tijuana and Paris.
Exhibitions amongst others at Galerie 5020 (Salzburg), Cité International des Arts (Paris), 21er Haus (Vienna) and Austrian Cultural Forum (Istanbul and Moscow).

Material Characters

Oil and acrylic on canvas, 190x150cm each series / 2020-2022

The “Material Characters” series consists of large-format paintings (190x150cm) that show individual initials in a central perspective display. The surfaces of the letters and the structure surrounding them, imitate different materials and pictorial spaces. The main limitation is that each letter only exists once within the painted series, following the logic of limitation within the art context. Due to the modular system of the series, the individual canvases can be hung together to form short words. This not only results in new image compositions, it is also possible to react directly to a site-specific situation or a current event. This spontaneous and intuitive use, which contrasts sharply with the lengthy and meticulous painting process, activates an additional level of painting. From this moment on, the works act both as images and as words. The interlacing of signifier and signifier is also treated on the painterly level by suggesting surface structures and linking them to abstract forms that are normally characterized by the absence of any materiality.

Structures made of marble, metal, wood or plastic are presented in an illusionistic way using painterly means. The boundaries between writing and painting are blurred, while the paintings start to get readable on several levels at the same time.

photo credits: Rudolf Strobl