Prélude, 2013 – 2016
Edition of 3
The works of the group Prelude of the photographer Martin Mlecko are abstract colour photographs. Immediately noticeable is the attractive brilliance of the colours, which grows over the picture in different colour spectra. A play between clearly defined colour fields, amorphous colour gradients and hard, albeit harmonious colour contrasts characterise the pictures. A warm red meets a cold blue, tones of the same colour families merge Rothko-like into other colour spaces. Vertical and sharp edges characterise the pictures, which live through the clash of two or more colour fields. Gliding rays of different hues cut through the colour spaces and are reminiscent of the blinding light of a beam of light shining in an otherwise dark room.
Martin Mlecko’s works are prints of analogue photographs, although they are taken at a moment in time that cannot be predicted. They are a reflection between the coincidence of the development process and the control of the chosen motif of photography. Here, chance becomes a creative tool and invents a new space between reality and fiction, factuality and poetry. Chance is also the moment in which Mlecko’s works acquire a painterly moment and the photographic and painterly in the picture overlap.
The control maintained by the chosen moment of impression and the subsequent exposure of the film is counteracted by the moment of a chemical process, a process of colours that are not predictable.
In earlier works Mlecko has already worked as a photographer with colours and has placed colour fields alongside his figurative photographs. In the video work Film “Filmtapete” he slows down the change of coloured areas from one colour to another to such an extent that this process is hardly noticeable to the viewer. In Prelude, colour gradients are in turn captured on paper and form, albeit solidified, a dynamic space that creates a spatial dimension through the effect of the various hues. Object and colour combine to form an amalgam that captures the metamorphosis of the chemical process of exposure to light to create the image. Martin Mlecko is perhaps in no moment more a photographer than in this one, when he examines the negative film for traces that, in addition to the intentionally captured, show a new and completely different, namely a painterly trace.