2018-2020

related press:

selection of works:

„(…) Take a small painting like A sun, 2020: at first glance it may look too quick but its toughness is what lasts. Just how fast was that light purple shape whipped into shape on the canvas’s rather gnarly ground? Why is the color of that ground closer to that of a sun than that purple shape that is shaped more like a sun? Was the ground-as-sun painted thickly to block out what looks like sky blue underneath? Nothing in the painting is just one thing, and one association leads to another, and another, and all the while anonymity is maintained. That, in the end, is the key achievement of Korneffel’s work.“ (Terry R. Myers)

„No, no, no, I’m not painting circles! If I wanted to do that I would use a template. I did go through a period of intensely hard-edged, grid-based compositions, and I’m inspired by minimalist vocabulary and geometry. Yet my circle-like splotches mainly come from my process of intuitive scribbling. Not long ago, there were letters and numbers involved, but these somehow migrated to the backs and sides. These circle-like shapes remain, as I find them to be the simplest and purest mark for me. They are emotional footsteps: painting as tracing, showing that I’ve been here, here, and there—mark-making as internal landscaping.“ (BOMB Magazine)

Something in French, 2019, 54 x 40 inches, acrylic on canvas

„I don’t think too much about the audience, my priority is that the work looks right. My paintings are containers of space and time, and as such, they relate to their environment. Although it is a subtle feature, the use of backs and sides underlines a painting’s ‘objecthood’. The backs carry written notes, the final title, and previous titles, while through the sides one can retrace the history of the layers of paint, akin to a rock formation, and perhaps some colour tests. This is subordinated additional information, and if space allows it is nice to occasionally display.“

Andy's flowers
2019, vinyl, acrylic, gesso on canvas, 21 x 20 inch.

„HB: I find that your paintings allow for contemplation in that they allow one to see—to take the time to tune in to the color, to the brushstroke, and to the painting itself.

JK: Surely my paintings offer a fast and easy read; but, yes, they also offer that the viewer live them, layer by layer. It usually takes a long time to get a few marks in the right place, on the right ground. Some people think it’s easy and that all I do is just spatter around for a couple of minutes, which is not entirely untrue. But I also alternate between execution and contemplation—it takes time, like getting to know a person. Maybe my paintings are like human beings; they’ve inherited the ability to slow down and sensitize. And to also reach beyond time.“ (Bomb Magazine)