Felix Becker, Installation view at UdK Berlin, © Andreas Baudisch
© Andreas Baudisch
© Andreas Baudisch
Felix Becker, Untitled (Lost paddle), 2021, Oil on backdrop paper on linen, 240 x 210 cm, @ Andreas Baudisch
Felix Becker, Untitled (Hook), 2020, Oil on wood, 31,5 x 26 x 4,5 cm
© Eike Walkenhorst
© Eike Walkenhorst
Felix Becker, Untitled (Tooth box), 2021, Oil on wood, 11,5 x 11 x 7,2 cm, © Eike Walkenhorst
© Eike Walkenhorst
© Eike Walkenhorst
Untitled (000), 2021 | Untitled (Lost paddle), 2021 | Installation view "it's only the end", © Eike Walkenhorst
Untitled (M56), 2021, Wood and oil on wood, 42 x 36 x 28 cm
Untitled (M56), 2021 | Installation view "it's only the end" at Kühlhaus Berlin 2021

Broken abstractions

Untitled (000) consists of hundreds of pieces of wood sourced from single-use vegetable boxes typically found in the market. They are screwed together to form trusses, each of which is connected to one another in the middle, creating a structure that is reminiscent of a military barrier. The shape, but also the many splinters of wood and protruding metal clips suggest aggression and resistance. However the provisional and fragmented nature of the material and its construction presents a barrier lacking the strength to block any strong force. In addition, remnants of the printing and branding on the crates can be seen, which indicates the structure’s profane and civil origin. Militarism or Lemon Thyme? The abstract aggressive form of the barrier is undermined by the narrative potential of the wooden wedges and their fragmented, fragile composition.

The colour of untitled (Lost paddle) appears monochrome and almost white, but depending on the light turns bluish or a warm gray. The surface is smooth apart from two large blobs of paint in the lower half of the painting, only detaching themselves from the rest of the work through the way they cast shadows and reflect light. To a certain extent, the painting interacts with its surroundings. From different perspectives or when viewed close-up or from a distance, you always see a slightly different work. On the left side of the mentioned blobs I scratched a small boat into the last layer. It is so small that it slips away from the eye as soon as you move away from the canvas. In doing so, I ask about the significance of the proportionality of interventions within an image. Can painting express narratives outside of the work without these being constitutional to the image?

Together with smaller objects combining painting and sculpture, untitled (000) and untitled (Lost paddle) were part of the graduation show it’s only the end at Kühlhaus Berlin, curated by Klara Hülskamp and Philipp Lange, initiated by the graduation classes summer 2020 and spring 2021 of the faculty of Fine Arts of the UdK Berlin.