Pius Fox

Pius Fox

 

 

 




www.piusfox.de


education
1983         born in Berlin
2004         Fine Arts/Teaching of Fine Arts at UdK (University of Arts),
                 Berlin with Professor Henning Kürschner
2006         Scholarship in Aix-en-Provence, France, within the Erasmus
                 program
2009         Graduate of UdK Berlin with Prof. Frank Badur
2010         Master class student of Prof. Pia Fries

Pius Fox lives and works in Berlin.


selected solo exhibitions
2014        We Expected Something Better Than Before, Pablo's Birthday
                Gallery, New York

2013        Corde Raide, Galerie Vidal-Saint Phalle, Paris
                Spiegelzelt, Galerie Martin Mertens, Berlin
                Fox hunting, Patrick Heide Contemporary Art, London
                The same in mirrors, Maksla XO Galerie, Riga

2012        Galerie Vidal-Saint Phalle, Paris
2011        Galerie Martin Mertens, Munich
2010        Galerie Martin Mertens, Berlin
2009        Taken For Stranger No.4, Appartement, Berlin


selected group exhibitions
2014        Wahrheiten, Werke aus der SØR Rusche Sammlung, Bayer
                Kulturhaus, Leverkusen
                Reflections on Psychedelia, Christina Androulidaki Gallery,
                Athens
                Herz der Finsternis, verhudelt, Kunstsammlung Jena

2013        Kunstpreis junger Westen 2013, Kunsthalle Recklinghausen
                Walking the Line V, Galerie Martin Kudlek, Cologne    
                Painting?, Pablo's Birthday Gallery, New York
                Exposition de Groupe, Galerie Vidal-Saint Phalle, Paris        
                Kabinett - das kleine Format, Galerie Martin Mertens, Berlin
   
2012        Exposition de Groupe, Galerie Vidal-Saint Phalle, Paris
                Walking the Line IV, Galerie Martin Kudlek, Köln                        
                Breeder, Patrick Heide Contemporary Art, London                    
                Neo. R. Brand, Appartement Re- installed, Berlin                       
                gest, Centre for Recent Drawing, London    
                Slide show, Frontviews, Hosted in Athens, Athens    
                Eros & Thanatos, Werkschau der Baumwollspinnerei, Leipzig    
                Karussell, MM Projekts, Karlsruhe
                Kaleidoscope, Patrick Heide Contemporary Art, London

2011         Berliner Zimmer Genossen, Funkhaus, Berlin
2010        Wachstum, Galerie Martin Mertens, Munich
                Long time no see, Tape modern, Berlin
                Pirosmani & und die zeitgenössische Kunst, Georgisches      
                Nationalmuseum, Tbilisi (GE)


art fairs:
2014       Volta New York
               Drawing Now, Paris
               Art Paris
               Viennafair

2013       TEFAF, Maastricht
               Drawing Now, Paris
               Slick Brussels
               Pulse New York,
               Volta9, Basel
               Pulse, Miami

2012       Drawing Now, Paris
               Slick Brussels
               Preview Berlin
               Slick Paris
               Pulse Miami
2011       Art Amsterdam
               Munich Contempo    
2010       Preview Berlin

Pius Fox is represented by Martin Mertins Berlin, Patrick Heide Contemporary Art London and Galerie Vidal- Saint Phalle Paris

 

review
Berlin artist Pius Fox’s oil paintings have an architectural quality that typically recalls interlocking rooms, fragments of stairs, proscenium arches, or even vacant auditoriums. As with Richard Diebenkorn’s “Ocean Park” series, which the 29-year-old Fox greatly admires, his works seem to shift continually between abstraction and figuration, and this dialogue between structure and color lends his compositions an intriguing inner drama.

Working primarily on paper, Fox uses spatulas to spread the pigment across the surface in a way that conceals a “signature” yet permits a kind of structuring that he feels would not be possible with a brush. Typically, he layers contrasting colors one over the other, often allowing some of the lower strata to shimmer through, so that what begin as abstract blocks of color suddenly engage with one another and create perspective depth, suggesting built spaces. “In this way,” he says, “things suddenly appear that aren’t expected.”

Fox was born in Berlin to a linguist mother and a musician father who performed with the legendary Leipzig band Klaus Renft Combo, sometimes referred to as “the bad boys of East German rock ’n’ roll.
After repeated censure, the group—and Fox’s family—was finally allowed to emigrate to West Germany, where Fox was raised among artists,
musicians, and writers, many of whom were also refugees from the East. Fox himself is a musician, and he sometimes takes the stage as a guitarist alongside his father. He also plays the sitar, and he credits the raga—a melodic mode of Indian music whose fixed framework leaves room for improvisation—with having significant influence on his idea of
pictorial structure. He is represented by Galerie Martin Mertens in Berlin and Munich, and by Galerie Vidal-Saint Phalle in Paris, and he is currently preparing solo exhibitions for those venues.

His small works on paper and canvas sell for 600 € ($784), and larger works measuring some six feet are priced at € 4,200 ($5,500). Fox’s foray into painting was driven by a passionate feeling for color. As a young child, he took a painting course that engendered a love for creating pictures, though he recalls a certain bewilderment about the efforts of his classmates. “I couldn’t understand why they used such ugly colors,” Fox says, and during his later studies at Berlin’s University of the Arts, his instinct for color ripened into a guiding principle. He is intrigued by what he terms a “color reality” that exists independent of subject or style—
something he sees present in Renaissance painting as well as in works by Rothko, van Gogh, and, of course, Diebenkorn. “In the case of van Gogh, there is often something implausible in the choice of colors,” he reflects, “yet one sees them as authentic.” Initially, he sought his own sort of authenticity with acrylic paints, but was always disappointed by the
way the colors lost their inner glow, and abandoned them for oil pigments.
In general, the artist says, smaller formats give him greater control, which is essential in his pursuit of what he cryptically describes as “the endlessness of painting.” Not unlike classical miniatures, his works utilize gesture, material, and color in ways that assert the inexhaustible
variety of his reductionist approach. “Color,” he declares, “doesn’t just create a particular mood—it also prompts a particular kind of perception. A picture is only finished when the sum of its colors comprises a world unto itself.”

David Galloway for ARTnews Critique´s Pick, Sep 2013