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Franz Fedier Art Gallery
Franz Fedier Art Gallery
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View Original
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View Original
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Add to Collection
View Original
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View Original
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View Original
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Franz Fedier Art Gallery
The gallery places three Franz Fedier painting in dialogue with each other and the art critique.
Rooms within rooms are created to de-formalise the gallery condition into an intimate experience, in which the viewer can feel at ease and immerse themselves into the painting.
The design has been influenced by the gallery experience of Kettles Yard and Erwin Heerich sculpture galleries. Erwin Heerich sculpture galleries use a geometrical grid to sculpt the architecture to form points at which views are framed.
In Kettles Yard a limited pallet of materials is consistently applied through intimate flowing corridor of spaces, rooms within rooms, linked with restful framing of moments of quite reclining in the curator’s seats. The artwork selected is of human proportions, by leaning it to its side and placing it on the floor the artwork begins take on sculpture like qualities. The side north facing windows scatter light across the texture of the acrylic paints on the canvas.
The paintings are linked together by the rationalising of a triangular grid driven by the widths of the three paintings. A central wall subdivides the three spaces, so to create windows framing the paintings within the space so that they act like beacons enticing the viewer to circulate the space.
Glare is reduced on the painting Wertkonflikte by the use of a skylight positioned at 25’-40’ from the painting. Humidity of space is controlled by HVAC system maintaining the relative humidity at 40-60%. The white plastered textured walls, help to illuminate the room reflecting the light however the contrasting polished concrete floor absorbs the glare from direct sunlight of the roof light so not to reflect it back onto the ceiling or artworks creating uneven lighting. The gallery is naturally light to allow the artwork to emit the full colour spectrum, harmful UV light are filter out so to minimise damage to the paintings.
Rooms within rooms are created to de-formalise the gallery condition into an intimate experience, in which the viewer can feel at ease and immerse themselves into the painting.
The design has been influenced by the gallery experience of Kettles Yard and Erwin Heerich sculpture galleries. Erwin Heerich sculpture galleries use a geometrical grid to sculpt the architecture to form points at which views are framed.
In Kettles Yard a limited pallet of materials is consistently applied through intimate flowing corridor of spaces, rooms within rooms, linked with restful framing of moments of quite reclining in the curator’s seats. The artwork selected is of human proportions, by leaning it to its side and placing it on the floor the artwork begins take on sculpture like qualities. The side north facing windows scatter light across the texture of the acrylic paints on the canvas.
The paintings are linked together by the rationalising of a triangular grid driven by the widths of the three paintings. A central wall subdivides the three spaces, so to create windows framing the paintings within the space so that they act like beacons enticing the viewer to circulate the space.
Glare is reduced on the painting Wertkonflikte by the use of a skylight positioned at 25’-40’ from the painting. Humidity of space is controlled by HVAC system maintaining the relative humidity at 40-60%. The white plastered textured walls, help to illuminate the room reflecting the light however the contrasting polished concrete floor absorbs the glare from direct sunlight of the roof light so not to reflect it back onto the ceiling or artworks creating uneven lighting. The gallery is naturally light to allow the artwork to emit the full colour spectrum, harmful UV light are filter out so to minimise damage to the paintings.
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