TRACKS

Wandmalerei
Petra Polli award winner of the Raiffeisen Art Collection 2019
N 46°30’0,64” E 11°20,05’7” wall painting
Förderpreisträgerin der Raiffeisen Kunstsammlung 2019
Petra Polli award winner of the Raiffeisen Art Collection 2019
N 46°30’0,64” E 11°20,05’7” wall painting, carpet and table design
Foto: Martina Jaider

Förderpreisträgerin der Raiffeisen Kunstsammlung 2019
Petra Polli award winner of the Raiffeisen Art Collection 2019
N 46°30’0,64” E 11°20,05’7” wall painting, carpet and table design
Foto: Martina Jaider

TRACKS Ausstellungsansicht Palais Mamming Museum Meran
Exhibition viewTRACKS 2020
Museum Palais Mamming Merano
Foto: Ulrich Egger
Petra Polli, N 46°36’0,49” E 11°9’40,32”
N 46°36’0,49”
E 11°9’40,32”
indian ink on canvas
100x100 cm
Petra Polli, N 46°32’41,6” O 11°34’46,5”
N 46°32’41,6”
O 11°34’46,5”
indian ink on canvas
140x100 cm
Petra Polli, N 46°36’2,64” E 11°09’39”
N 46°36’2,64”
E 11°09’39”
indian ink on paper
70x100 cm
Petra Polli, N 46°32’11,24” E 11°34’33”
N 46°32’11,24”
E 11°34’33”
indian ink on canvas
100x70 cm
Petra Polli, N 46°36’2,33” E 11°9’38,47”
N 46°36’2,33”
E 11°9’38,47”
indian ink on paper
70x100 cm
Petra Polli, N 46°36’1,7” E 11°9’40,8”
N 46°36’1,7”
E 11°9’40,8”
indian ink on canvas
100x140 cm
Petra Polli, N 46°36’2,87 OE 11°9’38,5”
N 46°36’2,87”
E 11°9’38,5”
indian ink on paper
70x100 cm
Petra Polli, N 46°32’10,13” E 11°33’30,91”
N 46°32’10,13”
E 11°33’30,91”
indian ink on canvas
70x100 cm

As a counter model to Polli’s urban motifs, the nature depicted in the works of her “Tracks” series is wild and untamed. The starting points for these paintings are color photographs and sketches, which are less studies of nature than explorations in color and formal reduction; Polli creates these sketches on site, i.e. in nature, and later uses them as templates for her picturesque abstractions back in the studio. The basis for Polli’s work is thus not the precise observation of concrete plants or the representation of botanically accurate regularities, but rather a graphic reproduction of the perceived, which aspires to capture the tangibility of the possible. By reducing and concentrating on the primarily visible structures, as a sort of ‘macerate,’ as essence and memory, it is only the lines of force that have been preserved and that lend structure to the recalled forest scenery and by means of which an independent dynamic of the painting’s image develops. In addition to these primary structures of the ‘memory picture’ image, i.e. the here so-called lines of force, Polli’s paintings are very complex. Between deep black, often sharply contoured lineaments, there are delicate shades of gray and cloudy color accumulations, which guide the eye into an intangible depth. The image space opens onto a far distance, which shimmers in watery vagueness and conjures up patterns of nebulous structures. The playful uncertainty of perception, which shifts between micro and macro structures, has developed into an artistic strategy here.
Jan T. Wilms - Text extract from the catalog TRACKS

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