Gallery News
26.5.2020

Pilar Corrias represents Peppi Bottrop

Pilar Corrias is pleased to announce the representation of Peppi Bottrop. This close collaboration with the artist will include a solo show opening at Pilar Corrias, London in 2021.

 

Peppi Bottrop

Peppi Bottrop (b. 1986 in Bottrop, Germany) lives and works in Cologne, Germany. He graduated as Mesiterschüler from the Kunstakademie Düsseldorf in 2014, where he studied under Albert Oehlen, Andreas Schulze and Jutta Koether. Recent solo and group exhibitions include: Jetzt! Junge Malerei in Deutschland, Kustmuseum Bonn, Museum Wiesbaden, and Kunstsammlungen Chemnitz (2019); Line Packers (with Albert Oehlen), Marciano Art Foundation, Los Angeles (2018); Hovel, Kunstverein Heppenheim, Heppenheim (2016); Fasi Lunari, Fondazione Carriero, Milan (2016); and You Are Missing A Lot Of Beautiful Shit (with Violet Dennison), Open Forum, Berlin and Museum Quadrat, Bottrop (2014).

 

Interview with Peppi Bottrop

Pilar Corrias: Could you talk me through your process, from the initial idea to finishing a work. How do you begin and are there particular impulses which give rise to a painting? Do you start with a reference and then build from there?
 
Peppi Bottrop: The "subject matter" for me is always painting, which can't be explained in terms of content but rather is about the process itself: velocity and a visceral approach to expression. Marks and gesture give away the varying degrees of traffic and temporal interruptions. Everything is very sensitive to space. It is more about employing architectural backdrops for expressive abstract narratives than forcing a particular subject matter. These narratives, of course, can deal with different things.

PC: When you say architectural backdrops…
 
PB: Architectural backdrops can be cityscapes. In an abstract way. Architectural backdrops are a construct of lines. They can also be a spiderweb or the roots of a tree. The grid of a barrier or the silver shine of water.

PC: From where do you derive these backdrops? Your painting VanLeer, 2018, for example, is packed with traces of what look like high-rise buildings. You were born in Bottrop, in Germany's Ruhrgebiet district and currently live in Cologne, and, in recent years, you've also lived in Los Angeles, Mexico City and Dusseldorf. How, if at all, has the architecture of these cities informed your work? Have you found that the architecture of certain cities is more conducive to painting than others?
 
PB: Every city glows differently. it is interesting to see how some cities stagnate with their 1960s construction, while others are forced by nature and economy to constantly rebuild themselves. This obviously creates a very stimulating dynamism. A dynamic that certainly affects me but not directly my way of painting. I can paint anywhere.

PC: I imagine your interest in architecture has informed your predilection for using industrial materials, too: coal, rust and so on.
 
PB: Recently I've been interested in the logic of time, and materials like rust, iron, coal can be harnessed to inform or underline this idea. A patina of historiography. Coal itself is memory. There is of course an architectural association, too.

PC: The titles of your paintings are often derived from fragments of words which you happen upon in books and essays. Do you actively search for these phrases and which comes first, the title or the painting? 
 
PB: They come together. Sometimes later.

PC: What are you currently reading? 
 
PB: Iain Hamilton Grant: Die Natur Der Natur.

PC: Do you read in the studio?
 
PB: I like small books that I can carry around with me.

PC: Thank you.

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