Hermann Lederle’s “Adaptation,” 2015

HUFFPOST ARTS & CULTURE
 James Scarborough
 Art, theatre, and film critic

This essay will accompany an exhibition of the artist’s work next month at Arthea Gallery, Mannheim, Germany.

Hermann Lederle’s “Adaptation,” 2015, is massive. Measuring five and a half feet by ten feet, this totemic monument doesn’t just envelop you, it anchors you to the ground. Reminiscent of partially open Levelor blinds, a network of dense and narrow vertical bands sweep across the canvas. There’s more weight at the center; this makes the surface quiver and shimmer, like water burbling over an outcropping of coral just beneath the surface of a roiling sea. Without fully revealing it, the piece suggests an expanse of pictorial depth. It accommodates something that is turbulent and veiled, expressionistic and controlled. This balance suggests a mystery, a conundrum, a koan.

adaptation 2015 by hermann lederle

You read it up and down, down and up, systematically working your way across. A crescendo from left to right, a climax at the middle, and then a denouement until the right edge. Structurally it’s the painterly equivalent of Guillaume Apollinaire’s pictorial poem, “Il Pleut,” from his 1918 book, Calligrammes. The lines of the poem are vertical, to simulate falling rain that evokes memories of women in the poet’s life.
The piece began with marks on the canvas. His signature, in the lower right corner; Japanese words near the left edge, vertically arrayed, that correspond to young Japanese daughters and an ambiguous amalgamation of a term that suggests Japanese trust fund sons and Goths. Given the piece’s up and down rhythm, it invites a comparison to the fair Juliet above on her balcony being courted by her swain Romeo down below. Those vertical bands consist of the vivid and expressionistic decades-old paintings that Lederle has painstakingly hand-cut and then collaged onto the canvas, leaving just enough space so that the original marks show through as interstices of the canvas. Punctuated with a stop and go rhythm, the work reigns in the artist’s prior spontaneous flourishes. Each scrimmed line brims with its own gravity. Overall it packs a powerful existential wallop. As such, it makes you wonder what Jackson Pollock’s drip paintings would have looked like if he had worked off of an easel.
An inspired piece, the work lays bare the source of artistic inspiration. The work corrals something prior and powerful, something that had once been deeply felt and is now remembered. It doesn’t push this feeling into the background; it leavens it with the consolation of memory. The work waxes humorous, a literal application of the way an artist’s new painting builds on what went before. Adaptation looks backward to move forward. Besides the emotion, besides the humor, the work feels wise: the product of adapting to things pictorial and, thus, personal with the perspective of age.
By James Scarborough

BOOK ON AMAZON

Hermann Lederle Book 2009 on Amazon

Hermann Lederle: Painting | Large Format Hardcover – 2009

Oil paintings by artist Hermann Lederle of selected works from 2000 to 2008. The new canvases depict iconic images layered with contemporary phrases and slogans in abstract painterly compositions. The use of a cold wax medium mixed with the oils creates a rich and textured surface of subtle color nuances.

Link: Hermann Lederle Painting on Amazon

Maasai Mara Cottar’s Safari Camp

Game Drive in the Maasai Mara nearby the Cottar’s Safari Camp

Masai Mara National Reserve is Kenya’s finest wildlife reserve. Everything about this reserve is outstanding. The wildlife is abundant and the gentle rolling grasslands ensure that animals are never out of sight.

Between July and October, when the great wildebeest migration is in the Masai Mara National Reserve, the sensation is unparalleled.

Cottar’s 1920s Safari Camp, which is situated in the Masai Mara, bordering the Serengeti and Loliondo ecosystem, in an untouched 200,000-acre exclusive concession providing the visitors an abundance of wildlife.

Thank you Calvin Cottar, Ken (our guide) & Lasase (Maasai Mara), Douglas ( camp manager), Daniel & Francis (mess tent butlers), Bernard (room steward) and the great Cottar’s Camp team.

Cottar’s 1920’s Mara Safari Camp, email: info@cottarsafaris.com

Also view on Vimeo: http://vimeo.com/hermannlederle/maasaimara

Laurie Frank On MixxMaster

Q: Tell us about your first wall art… do you still own it?

A: The first piece I ever collected was a large oil on wood showing three male figures on a background of gold leaf by a then-young Hermann Lederle. This painting is still a favorite, the gold leaf background constantly shifts, refracts and changes with the light by the hour… like a living thing. I’ve represented Hermann since that day and have pleasure & satisfaction of seeing his work deepen and grow. His work is on frankpicturesgallery.com & my gallery on Amazon amazon.com/frankpicturesgallery

excerpt from MixxMaster

Pacific Ocean Park Pier Surfers

This terrific vintage video from the 1970s shows surfers working the dangerous waves around the ruins of Pacific Ocean Park’s pier.

Pacific Ocean Park Pier Surfers – Original footage used in the documentary, Dogtown and Z-Boys – With Dogtown surfers including Jeff Ho, Micki Dora, Wayne Inouye, Bill Urbany, Adrian Reef, Mark Amos, Wayne Saunders, Craig Crossland, Joe Fallon, Mike Riggins, Doug Irvine, Jeff Sibley, Adrian Reef, Rusty Lew, Jimmy Tavarez, Rick Tavarez and many more. Footage shot by Don P. Behrns, Jimmy Tavarez and Rick Tavarez.

Music: Arambol Experience Vol.2, Track: Doesn’t really Matter

Lederle @ ART Karlsruhe 2013

Lederle at Art Karlsruhe 2013
Lederle at Art Karlsruhe 2013

Lederle to show with Arthea Gallery at ART KARLSRUHE 2013

Hermann Lederle

Painting

The German painter, who now resides in Los Angeles, gives impressionism a contemporary inflection. Where before wispy brushstrokes and springtime hues ruled, Lederle works in the colors and shapes of our time. His paintings have an edge to them and an electric energy pulsing throughout.

Lederle’s paintings capture how it feels to see in the modern world. Waterlilies are replaced with welcome screens and rolling sunsets with flashing advertisements.

The latest series entails a two-stage process, where at first a graduated color is applied with a traditional brush allowing for the distinct qualities of its stroke to emerge. The second stage is executed with a painter’s knife often with ostensibly contradictory linear shapes and lines.

Lederle’s work has a 3-D, almost architectural reality, achieved without employing geometry. He creates a progression of inner space expanse that the paintings invite you to enter as an explorer evoking the thrilling sensation of stepping on virgin ground.

Translation to german:

Hermann Lederle

Malerei

Hermann Lederle, geboren in Mannheim, Deutschland, lebt heute in Los Angeles, Kalifornien. Seine neuen Bilder geben dem Impressionismus eine zeitgenössische Ausdrucksform. Wo damals Frühlingsfarbtöne und feine Pinselstriche die Landschaft auflösten, arbeitet Lederle in den Farben und Formen unserer Zeit. Seine Bilder haben Ecken und Kanten mit einer pulsierenden elektrischen Energie.

Lederles Gemälde erfassen, wie es sich anfühlt, in der modernen Welt zu sehen. Seerosen werden durch Begrüßungsfenster (Splash Screens) und Sonnenuntergänge durch blinkende Anzeigen auf Bildschirmen ersetzt.

Die neuen Arbeiten entstehen in einem 2-stufigen Prozess. Zunächst wird Farbe in mehreren Schichten und Abstufungen mit einem herkömmlichen Pinsel aufgetragen. Danach werden Kanten und Tiefen mit unterschiedlichen Malspachteln im scheinbaren Widerspruch herausgearbeitet.

Die Bilder erreichen ohne Einsatz der Geometrie eine fast architektonische 3D Realität, die den Betrachter einlädt sich auf die Reise in das Innere des Bildes und Seiner selbst aufzumachen.