Stavanger Neighborhoods and Wood and Waters

FARO Symposium August 2nd – 14th 2009 in Stavanger, Norway

Format:
152 charcoal drawings , 30 x 30cm each
152 photos, 10 x 10cm each on passepartout 30 x 30cm

Exhibition:
Kunstforening Stavanger, Norway 2010

Peter S Meyer, Director of Rogaland Kunstmuseum, Stavanger, Norway

During the symposium Teichert had given himself the project of drawing 150 drawings during his stay in Stavanger; by making 12 per day each followed by a photograph. They will be exhibited as pairs which make them very interesting. Very seldom is seen two approaches to the same motive from the same artist at the same time! A sketch and a photography next to each other shows us the genius of the eye clearly. An eye may zoom in and still keep the overview at the same time – or ratherthe brain is doing this. A view is the consciousness which decides what we feel we are seeing. The eye does probably see it all, but our consciousness decides what has priority – what we need. The camera includes everything that is technically possible. An artist, however, structures the painting/picture according to composition and extracts. When the camera says: He was here. The drawing says: I have been here.

Adam Nankervis, MANmuseum, Berlin

In producing plein-air sketches accompanied shortly after by a photograph, a series of twelve pas de deux were orchestrated each day over a period of twelve days.
The comparative exercise of these pas de deux not only give insight to a breadth of a Norwegian landscape, and its monumental and idiosyncratic urban landmarks, but also offer an insight to the talents of Kai Teichert as an observer and executor of a vision uniquely of those eyes that benefit the mediator of a native. A familar intimacy arises of both form and subject. This in selective subject and execution of the knots of charcoal sketches to the clarity of high resolution digital photographs of the same vignette. Sometimes frozen in the unique petrified gaze of the subject to the slight alteration or vanishing which is altered only by the fleeting moment shift of the instant and the demarcation of the solidity of that which is grounded in the landscape. His is the gaze of an inhabitant, well settled, well placed of this, the Stavanger landscape.