ATOI

Dale Adcock

Faig Ahmed

Hurvin Anderson

Scott Anderson

Fabio Lattanzi Antinori

Michael Armitage

Luke Armitstead

Lello // Arnell

Francis Bacon

Cornelia Baltes

Simon Belleau

Joshua Bilton

Alison Blickle

Benjamin Brett

Andrew Brischler

Carla Busuttil

Scott Carter

Jonathan Chapline

James Clarkson

Mikey Cook

Kevin Cooley

Elizabeth Corkery

Øystein Dahlstrøm

Blake Daniels

Fleur Van Dodewaard

Tomory Dodge

Antoine Donzeaud

Zavier Ellis

Amir Fattal

Madeline Von Forerster

Ruth Freeman

Anthony Goicolea

Jonny Green

Pablo Griss

Eckart Hahn

Felicity Hammond

Byzantia Harlow

Neil Harrison

Clinton Hayden

Colleen Heslin

Oliver Hickmet

Aaron Holz

Edward Hopley

Gary Hume

Christoffer Joergensen

Tamara K.E

Olivier Kosta-Thefaine

Olaf Kuhnemann

Bruce LaBruce

Janneke Van Leeuwen

Tomáš Libertíny

Gijs Van Lith

Tom Lovelace

Kate Lyddon

Nigel Massey

Roberto & Renato Miaz

Holly Mills

Jenny Morgan

Ryan Mosley

Benjamin Murphy

Jose Carlos Naranjo

Regina Nieke

Sarah Pager

Selma Parlour

Yelena Popova

Martine Poppe

Tony Romano

Lou Ros

Maja Ruznic

Alan Sastre

Sebastian Schrader

Andrew Sendor

Dominic Shepherd

Pawel Sliwinski

Berndnaut Smilde

Evren Sungur

Shaan Syed

Struan Teague

Alexander Tinei

Kristian Touborg

Luke Turner

Alain Urrutia

Dan Voinea

Mathew Weir

Jack West

Jonathan Zawada

Marion Fink

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“The Wave (2018), monotype, oil colour and crayon on paper, 210x152cm
She Used to Gain Her Insights Through Sheer Force (2018), monotype, oil colour and crayon on paper, 152x120cm (FRAMED)
Fiji Dreamin’ (2018), monotype, oil colour and crayon on paper, 210x152cm
The Steady Act of Collecting was the Only Way to Express His Ambition (2018), monotype, oil colour and crayon on paper, 152x120cm
Due to the Sweet Feeling of Stagnation the Crime Never Happened (2018), monotype, oil colour and crayon on paper, 152x120cm
They Constantly Struggled to Redefine their Reality (2018), monotype, oil colour and crayon on paper, 200x152cm
The Summer was Nothing but a Brief Moment Between Her Yearnings (2018), monotype, oil colour and crayon on paper, 200x152cm
Aphrodite Calling (2018), monotype, oil colour and crayon on paper, 210x152cm

Marion Fink’s large-scale works on paper are created through monotype printing processes. Using oil paint and crayon, the artist first paints onto large glass plates, which she then pushes onto the paper using her full body. Fink builds upon the paper with a collage of new prints over time, resulting in unique, unreplicable works. Having evolved from a more ‘traditional’ painterly process of applying oil to canvas, this more recent technique gives the works a ghostly appearance–the paper shining through gaps in the thinly-applied, pastel-hued paint. Fink’s works depict idiosyncratic, abstract scenarios and stagings comprised of text, figures, objects, and shapes which, according to the artist, ‘give shape to my everyday philosophical considerations regarding the individual construction of reality and identity.’ Each work comes from a personal place–whether grounded in her own experiences, or in observations of the world around her. The titles are also important, being used to construct (and add to) the narratives which may not be immediately evident from viewing the work alone.

Marion Fink (b. 1987, Lindenberg im Allgaeu, Germany) lives and works in Berlin and Potsdam, Germany. She graduated from the Hochschule für Bildende Künste in Hamburg in 2016. Solo exhibitions include: ‘New Work’, KUNSTRAUM  WASCHHAUS, Potsdam, Germany (2018); ‘Soliloquy’, NAU Gallery, Stockholm, Sweden (2014); and ‘Sweet Inner Bastard’, NAU Gallery, Stockholm, Sweden (2012). Recent group exhibitions include ‘Offen Vol.2’, Gallery EIGEN + ART, Berlin, Germany (2018); ‚Tangerine Dreams’, curated by Johann König, Funkhaus, Berlin, Germany (2018); ‘Nachts allein im Atelier #5’, Evelyn Drewes Gallery, Hamburg, Germany (2018). 



 


Marion Fink’s large-scale works on paper are created through monotype printing processes. Using oil paint and crayon, the artist first paints onto large glass plates, which she then pushes onto the paper using her full body. Fink builds upon the paper with a collage of new prints over time, resulting in unique, unreplicable works. Having evolved from a more ‘traditional’ painterly process of applying oil to canvas, this more recent technique gives the works a ghostly appearance–the paper shining through gaps in the thinly-applied, pastel-hued paint. Fink’s works depict idiosyncratic, abstract scenarios and stagings comprised of text, figures, objects, and shapes which, according to the artist, ‘give shape to my everyday philosophical considerations regarding the individual construction of reality and identity.’ Each work comes from a personal place–whether grounded in her own experiences, or in observations of the world around her. The titles are also important, being used to construct (and add to) the narratives which may not be immediately evident from viewing the work alone.

Marion Fink (b. 1987, Lindenberg im Allgaeu, Germany) lives and works in Berlin and Potsdam, Germany. She graduated from the Hochschule für Bildende Künste in Hamburg in 2016. Solo exhibitions include: ‘New Work’, KUNSTRAUM  WASCHHAUS, Potsdam, Germany (2018); ‘Soliloquy’, NAU Gallery, Stockholm, Sweden (2014); and ‘Sweet Inner Bastard’, NAU Gallery, Stockholm, Sweden (2012). Recent group exhibitions include ‘Offen Vol.2’, Gallery EIGEN + ART, Berlin, Germany (2018); ‚Tangerine Dreams’, curated by Johann König, Funkhaus, Berlin, Germany (2018); ‘Nachts allein im Atelier #5’, Evelyn Drewes Gallery, Hamburg, Germany (2018).