Cells 2019–today (selection)
For now more than 40 years Manfred Heinze has been painting his typically cell-like ornament which, as you might think is not inspired by biology, but of broken stone slabs of a terrace covering. As in almost all of his paintings, these cells overlay the background.
Since 1977 the cells were predominantly made of ink, they are delicate and small, but today the cells are much more powerful and taller. They are often multi-colored or filled wiht color, with borders or colored gaps. Partly the color is only thinly applied, partly pasty.
Since 1983 there are some cells, which are very geometric, mostly rectangular, and only singularly accentuate the painting. This group, which was formerly known as »dichotomy«, is now runnig as a subgroup of the group of »cells«. Towards the end of 2018, Manfred Heinze introduced "standard cells", which dominate the picture as always the same group of three cells.
Also, for a long time, there were indications that Manfred Heinze would say goodbye to the classic canvas on stretcher, all the paintigs now are nailed directly on the wall. For a very long time it was also common practice for him to experiment with fabrics such as chintz, cotton, jacquard or printed decoration fabrics. So why invent the background or just use white screen, if there is such an incredible range of woven and printed fabrics that are otherwise hardly appreciated in the art context.
But not only the visible work is interesting, but the whole process from the selection of the fabrics to the storage of the ready works. This creates a coherent conceptual structure around the work of art. The work reflects, if you look closely, its complete existence. Wrinkles, bumps, frayed edges, stains, color breaks, color rubs - all processes of the art production are clearly visible in the work itself. The painting thus tells of its own existence beyond the actual motive.
And as if all of that is not enough, he also makes visible to us the madness of wasting logistical and financial resources, while day by day thousands of art works are traveling in gigantic art transport boxes around the world and leave huge ecological footprints. Manfred Heinze simply folds or wraps his paintings for transport and storage. Thus, the images are brought extremely efficiently from A to B and finally get a third dimension through the wrinkled surface. Consequently, instead of »paintig«, you could also speak of a »relief« or an »object«.
(Hans Ernst, Berlin, 2019)