Marianne O’Kane Boal looks at the work of Tinka Bechert, which operates in the liminal space of form, abstraction and play
Living and working between Sligo and Berlin, artist Tinka Bechert cites abstractionists such as Charline von Heyl (b. 1960), Amy Sillman (b. 1955) and Beatrize Milhazes (b. 1960) as important in the evolution of her painting aesthetic. It is through these pioneers of colour and form that Bechert has discovered a cultivated stylistic diversity that can be mined and honed subjectively. ‘Looking at painting, I think of a kind of pendulum of time and history – that oscillation of historical awareness which is so essential in its long histories,’ says Bechert. ‘The past swings in and out of contemporary painting always, otherwise nothing new can ever be made.’
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