edith urban · image of poetry, poetry of the image

The presence of texts – generally fragments of poetry extracted and inscribed into the body of the colour – is a constant and defining feature of Edith Urban’s art. But what is the relationship between painting and poetry in her works? Generally, simple juxtaposition and an insubstantial connection between image and text is the greatest risk and constant limit affecting artistic practices that attempt to relate text and image...

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between the lines · a semiotic exploration of pictorial writing

I do not entirely agree with the approach based on the poetics of the fragment proposed in almost all the critical writing on Edith Urban’s art1. In my opinion, it is more appropriate to look at the profound nature of the pictorial text than the evident intrusions of writing. So whilst the source of the phrase cited is essential, more than the phrase itself, what is important is the pictorial nature of what is written, its calligraphy, which is a particular variant of painting... 

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what do you think i'd see if i could walk away from me

lines like these words written by lou reed, removed from their original context, take on an autonomous and incisive meaning when transplanted into the paintings of edith urban. her writing is delicate but determined, and the words seem to be notes taken by the artist during the creative process, but in fact they are crucial commentaries that determine the character of each individual painting on various levels. ...

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maria und marie · women. voices. roles.

maria and marie represent examples of different images of women figures that have developed over the centuries in different social and historical settings.

in paintings, religious and secular literature, in theatre, opera texts and also in contemporary media,  women characters are to be found which, in ›condensed‹ form incarnate female roles with specific character traits, attitudes and ...

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donne.voci.

una serie di quadri di piccoli formato, acrilici su legno, che richiamano il formato del libro aperto,  meno per la dimensione e più per la presenza di suddivisioni e cornici grafiche caratterizzanti la superficie pittorica, determinano il nuovo corso nel lavoro di edith urban.  si vedrà subito come peraltro l’ambiguità del mezzo (quadro o libro) si trasferisca anche alla superficie...

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visioni orizzontali

in the horizontal world of edith urban’s paintings we contemplate plains and desert, and the windblown flatlands at the edge of the baltic. we imagine a solitary figure immersed in a wheatfield, where the absence of limits to our sight induces a pleasure in emptiness. in scanning from left to right, back to the left, and then again to the right, we reproduce the action of reading: landscape metamorphoses into the pages of an open book...

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painting/painting over/not painting

an important feature of edith urban's work is the constructive balance of different colour-fields, of light and dark, heavy and light surfaces. it relates to a tectonic principle of composition, which evocates associations to architecture, but it also offers  landscape and space as an additional option. often different layers of colour are placed one on top of the other...

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a reviewal of motifs

edith urban places one beside the other, 4 copies of the feet of Jesus, nailed to the cross, making apparent by the fragmented form, the pain of the torture, which is lost in the anestheticized portayals of the whole body [christ on the cross]. the fact that the beholder looks through a sketchily drawn fence serves to emphasize and widen the scene...

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richness of form

»..let us see, if we can find way out, but I myself believe there is none« – text fragment to the title »odyssee, 10.song II«. the scene reveals danger, expresses doubt about an escape, but what is to be seen in the picture? a broadly painted frame and within a rectangle, formed of diogonal stripes of colour in red and yellow tones, all of which is spread over with traces of dilapidation,..

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insiemi non disgiunti

d’altronde, se si volesse avere un esempio di come uno stesso segno o figura elaborato in diversi ambiti conoscitivi assuma un significato »altro«, valga come esempio quello che edith urban ha formalizzato nel suo quadro »psalm«, (dal titolo di una poesia di paul celan) ove vediamo la medesima curva utilizzata da fridman, e, qui, nemmeno epurata da dettagli, graticci, segni ...

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the silent space between and around words

incidere una tela senza lacerarla è possibile solo se la si rende spessa con strati di colore, di pigmento steso come fosse calce a ripristinare il muro dei secoli, il muro della memoria latente, pronto a balzare in primo piano ed essere tavola del presente appena lo si riconosca come superficie sul quale i segni impressi ci catturino, non necessariamente facendosi forieri di un interpretabile messaggio ...

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