VISUAL ART
Rock in the room
Charcoal, Ball point pen, 33 x 48 cm, 2024
This series combines architecture, rendered in straight blue ballpoint pen lines, and nature, rendered in charcoal. The composition is improbable, it combines straight and curved lines, human-made and natural shapes and materials. Rocks are -and have always been- a primary material in construction.
Melting
Tengucho paper, Coloured metal, Paper 70 x 47.5 cm, 2023
Lit from the front (artificial light effect) and from behind (daylight effect).
Stone landscapes
Water colour, Tengucho paper, 48 x 48 cm, 2023
Photo credit: Matteo Montesano
Coloured dilutions
Water colour, Tengucho paper, 96 x 26 cm, 2023
Photo credit: Matteo Montesano
All white I, II
Coloured metal wire, Paper, Tengucho paper, 95 x 42 cm, 2023
The difference of the two versions of these works is that the two on the left are lit from the front and the two on the right from behind. In both cases, all inclusions as well as the paper are white. When lit from the front we perceive an almost completely white subject, when lit from behind a dark grey and white contrast emerges.
Deep into the forest
Coloured metal wire, Paper, Tengucho paper, 95 x 42 cm, 2023
Disintegrating sunshine
Coloured metal, Straw, Tengucho paper, 70 x 60 cm, 2022
Thinking in circles
Coloured metal, Tengucho paper, 70 x 60 cm, 2022
Eroding coastlines
Coloured metal, Acrylic, Tengucho paper, 97 x 50 cm, 2021
Minimal botanic asemic writing
Tengucho paper, Laurel leaves, Coloured metal and wire, paper, 51.5 x 51.5 cm, 2021
Asemic writing
Tengucho paper, Coloured metal and wire and paper, 96 x 43 cm, 2021
"The impossibility and, in art, the uselessness of attempting to copy an object exactly, the desire to give the object full expression, are the impulses which drive the artist away from literal colouring to purely artistic aims."
Wassily Kandinsky
Asemic writing
Tengucho paper, Coloured metal and wire and paper, 97 x 44 cm, 2021
Imperfect botanics I, II, III
Painted metal wire, Laurel leaves, Tengucho paper, 48 x 48 cm, 2020
The laurel leaves have been selected for their irregular, imperfect shape. Their colour will gradually fade away and become yellowish brown. Small fragile natural elements dialogue with strong and rigid industrial material.
Winter landscapes I & II
Gouache, charcoal, ink and pastel on paper, 75 x 75 cm (painting 52.5 x 52.5 cm), 2020
Dilutions
Indian ink, Tengucho paper, 96 x 40 cm, 2020
Minimal portraits
Charcoal and oil pastel on paper, 33 x 24 cm, 2019
The contrasting effect of the thin black line and the large brightly coloured eyes increases the drawings' power. I am always looking for harmonious oppositions in minimalist style.
Summer
Tengucho paper, Graphite, Water colour, 30 x 20 cm, 2019
Rings and leaves
Tengucho paper, Coloured metal and wire, 95 x 50 cm, 2019
XRay
Tengucho paper, Coloured metal wire, 96 x 50 cm, 2019
Surfaces
Metal wire, Acrylic, Tengucho paper, 64 x 64 cm, 2019
Stratification I, II, III
Metal wire and paper, 115 x 25 cm, 2017
This work may make you think of Jean Hans Arp’s dada-style elegance in Overturned Blue Shoe with Two Heels Under a Black Vault.Arp’s statements to describe his creative journey are valid for this work and many of the forms that we encounter in Poppe’s art: “I looked for new constellations of form such as nature never stops producing. I tried to make form grow. I put my trust in the example of seeds, stars, clouds, plants, animals, men and finally my own innermost being”. (J. Arp “Looking”, exhibition catalogue, New York, 1958, p.12). Poppe like Arp’s artwork “has intrinsic energy and reaches organic solutions which are more subject to the laws of randomness than to conscious artistic manipulations” (Lucy Flint about the work of Arp in Masterpieces from the Peggy Guggenheim Collection, Venice 1994, n.50).
Gianluca Tancioni
Ancora una scelta stilistica vicina in apparenza a lavori di Tony Cragg, ma fatta in assenza di peso, in chiave di gioco, dove il materiale di recupero, non convenzionale, disegna figure occasionali (una passante con cappellino e gamba scoperta?, un occhio che guarda attonito dall’alto?), che per gioco alludono e si associano.
Gianluca Tancioni
Amor
Metal wire and paper, 48 x 127 cm, 2017
"Unsquared"
Painted metal wire, Tengucho paper, 50 x 40 cm, 2018
Listening
Watercolour, Metal wire, Tengucho paper, 97 x 50 cm, 2018