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Once, when I visited her in her studio (then in Monbijoupark) she was drawing on a format much larger than herself - a canvas maybe two and a half meters high. I could make out a large cone-shaped figure consisting of a swirl of intricate lines, grids and structures. Graphite black, richly faceted ruling on a white background, little space, little color, if I recall correctly, ultramarine blue. The dominating cone-shape and outrageously rich and vibrating drawing within this form is startling.
When Yvonne Andreini draws she always draws the whole world. So it seems to me. Especially on these large formats. The first traces she leaves indicate the key in which she will continue to move over the paper or canvas. It seems that she initiates a certain autonomy of space that carries her throughout. Similarly to a good singer who is almost effortlessly supported by the music. There is desire, the desire to sing and the fortune to be able to. This is how Yvonne draws: passionately, joyful, energetic and with an admirable ease. She draws the whole world, and then she laconically titles her work “conemask”. Does anybody know what a “conemask” is? Or differently posed: must we know?
Last year we sent each other questions via email. Questions that we didn’t expect any answers to but rather counter questions. Indeed, usually a question seeks an answer. However, every answer generates a new question. Is this a circular figure? Or is it in fact a spiral? The circle returns into itself, the spiral doesn’t.
At that time Yvonne compared her drawings to questions. My drawings are my questions, she would say. I believe she moves along these imaginary spirals and according to the direction she chooses, she finds herself or the whole world. The gestational process plays a major role. At the beginning of her work she doesn’t yet have the anticipated result in mind. The form develops through an open and risky process of creation. Her vocabulary is rich and unusual. Once I asked Yvonne for interpretation of one of her drawings. She spoke of representational inspiration, umbrella, comb, hat and teeth. It seems that things and concepts cast shadows, create an echo behind her forehead that induces the hand to draw.
Drawing as a parallel process along individual thinking movements, which are definitely more associative than analytical. It sounds complicated, and most likely is. But with Yvonne it happens with an impulsive and equally energetic ease that makes one marvel. One who should write about it is left helpless. One will not find conclusive explanations.
Drawing is a form of language. This statement stems from Richard Serra. I believe he wasn’t speaking the whole truth. Don’t graphic artists, who oppose the digital domination of imagery and are fortunately increasingly exhibited, speak a highly differentiated and confusingly Babylonian multitude of languages?
If I could explain what I draw, I wouldn’t have to draw it: is one of the oldest justifications for artistic creation. There are more questions than answers. It is the duty of art to pose these questions and to follow paths that theologians and philosophers have long since abandoned: in search, perhaps, of those parts of the world that formerly have been described as Utopia.
As observers we have no answers. What should we do? Look carefully, very carefully, and continue to ask! Maybe someday we’ll find something, that we didn’t know we were searching for since a long time…
Hans Mendau
Lives and works in Berlin.
Education
| 2004-2005 | Drawing and painting classes with Matthäus Thoma |
| 2005 | Studied art at the Berlin Weissensee School of Art with the focus on drawing under Prof. Hanns Schimansky |
| 2010 | Diploma under Prof. Hanns Schimansky |
| Postgraduate „Meisterschüler" program under Prof. Hanns Schimansky |
Solo exhibitions
| 2010 | Gallery Jürgensen, Oetjendorf near Hamburg | |
| 2011 | „...“, Gallery Reign of Art, Berlin |
Group exhibitions
| 2006 | „Verwirrungen“, Frankfurt/M |
| 2007 | „Ali Babas Reis“, Lynar 4, Berlin |
| 2008 | „Förderplatte“, Berliner Kunstsalon, Berlin |
| 2009 | „Kalligraphie", Metropolitan Museum, Tokyo (Japan) |
| „Nord Art 2009", Kunst in der Karlshütte, Büdelsdorf | |
| „Prolog Nr. 4”, Booklet for drawing and text, Gallery Parterre, Berlin | |
| „Zeichenklasseplus Schimansky”, Gallery Parterre, Berlin | |
| Opening of the Gallery-showroom „SHANGL HANGL”, Berlin | |
| „Prolog Nr. 5″, Booklet for drawing and text, Druckertankstelle, Berlin | |
| „Anonyme Zeichner Nr. 10", Kunstraum Kreuzberg/Bethanien, Berlin | |
| 2010 | „Avalanche Project", Maribel Lopez Gallery, Berlin |
| „59 Keisei", calligraphy exhibition, Tokyo (Japan) | |
| Diploma and "Meisterschüler" exhibition, Uferhallen, Berlin | |
| Curated, organised and participated in the exhibition: „Everybody learns from Disaster“, Villa Elisabeth, Berlin | |
| „Blind Date", Galerie im Regierungsviertel, Berlin | |
| 2011 | „REIGN OF ART Berlin“, Gallery Reign of Art, Berlin |
| „Prolog Nr. 7 Heft für Zeichnung und Text“, Garden at Scheffelstraße 21, Berlin | |
| „REIGN OF ART FRANKFURT“, Gallery Reign of Art, Frankfurt/M | |
| „Yvonne Andreini – Kazuki Nakahara“, Gallery Inga Kondeyne, Berlin |
Prizes / projects
| 2007-2008 | Founded LYNAR 4 a project based showroom for drawing, painting, installation, sculpture, music and sound art |
| 2008 | Winner of the DAAD prize for the best foreign student at the Berlin Weissensee School of Art |