Peppi Bottrop

Der lange Löffel

03 November 2016 – 07 January 2017

Jan Kaps, Cologne

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, W 1.1.5, 2016, 200 x 150 cm

W 1.1.5, 2016, 200 x 150 cm

Jan Kaps, Peppi Bottrop, Der lange Löffel, W 1.1.3, 2016, 200 x 150 cm

W 1.1.3, 2016, 200 x 150 cm

Jan Kaps, Peppi Bottrop, Der lange Löffel, W 1.1.4, 2016, 200 x 150 cm

W 1.1.4, 2016, 200 x 150 cm

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, 23. 56, 2016, 155 x 55 x 4 cm
  1. 56, 2016, 155 x 55 x 4 cm
Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, FC GF 10.4, 2016, 240 x 180 cm

FC GF 10.4, 2016, 240 x 180 cm

Jan Kaps, Peppi Bottrop, Der lange Löffel, FC GF 10.0, 2016, 240 x 180 cm

FC GF 10.0, 2016, 240 x 180 cm

Jan Kaps, Peppi Bottrop, Der lange Löffel, Installation View, 2016

Installation View, 2016

Jan Kaps, Peppi Bottrop, Der lange Löffel, H0 4.05.0, 2016, 200 x 300 cm

H0 4.05.0, 2016, 200 x 300 cm

Jan Kaps, Peppi Bottrop, Der lange Löffel,

Press release

Fermacell EN15283-2 GF - 1112-C1 10mm 3 DEU 14.05.16 19:36 CE 04ETA-03/0050 EM 13501-1 A2 s1dO KOMO K47973 ÜZ-9.1-434 4007542003858 Fermacell GF 10 W1.1 H04.05.16 22:40 4007548003056 Fermacell GF 10 W1.1 H04.05.16 22:41 4007548003056

In the works for his current show "Der lange Löffel" at Jan Kaps, Peppi Bottrop vigorously reduces the means of his drawings. He zooms into the constituents of his earlier works as if using a microscope to get closer towards the substance of the drawing itself. He simplifies the structure of his paintings and selects only the necessary to let the singular lines be what they actually are. His new lines comprise their predecessors but still find their own way of being. Mounted directly onto the walls of the exhibition space the Fermacell boards Bottrop draws on appear as architectural fragments and push his new paintings closer towards the realm of the sculptural.

This development does not contradict with the artist's earlier works, in which he would sketch up geo- metrical forms in a constructivist manner and fill up the void of the canvas by densifying the masses of lines. These new works are much more to be read as a logical consequence of their predecessors. They are aware of what preceded them, but leave blank what they don't need to be anymore. The artist fragments and reduces what earlier was an intertwining of cluttered strokes into loosely dispersed compositions. While cultivating the blank space, stopping his strokes and interrupting his own gestures, Bottrop finds open spaces on new grounds, makes new marks and creates novel clearances.

While he keeps testing, feeling, exploring, Peppi Bottrop drafts contradicting velocities in his drawings. He takes a fast pace, suddenly interrupts his gestures of filling up and those of leaving the surface blank and causes fragmented lines, blurred traces and stuttering signs. A mixture of beginning, interruption, restart and interruption again, enables the artist to create compositions that appear as weightless as they seem to be distinct. Concurrently Bottrop's marks seem to stem from a pre-literate archaic period. They might be evocative of ancient cave drawings - signs made of soot, yet free from depiction and without characters or symbols to come about - but doing so they describe a basic human impulse.

The still visible codes printed onto the Fermacell boards during their industrial production work in the opposite direction of this archaic notion. The automatic imprints - numerical sequences from the industry - show the date and time the singular board was completed, 04.05.16 22:40, locating them in the now. While in search of the components of his drawings Bottrop responds to these codes. His strokes integrate the figures and characters. They relate to them, get dashed and cut off, as if their saturated black would only be a particularly dense line of characters, that bursts here and there to uncover the text they consist of. This way these works exist between genesis and now, between mark and image and happen both in various tenses and differing velocities.

Friedemann Heckel