WALD

inkdrawings on paper
ink and acrylic paint on paper
2019 – 2020

wald Kubinhaus maerz zeichnung Gregor Graf

Wald 1 / 147 x 101cm / ink on paper

 

angesetzt / umgeschnitten

 

Durch die große Trockenheit 2018, den Borkenkäfer, Windbruch und die hohen Schneelasten im Winter 2018/19 wurden dem Wald im Mühlviertel und Waldviertel immense Schäden zugefügt. Im Frühjahr und Sommer 2019 wurden daher große Mengen an Schadholz aufgearbeitet und aus den Wäldern gebracht. Ganze Landstriche veränderten sich in kurzer Zeit und forstwirtschaftlich genutzte Waldflächen verwandelten sich durch Einsatz von schweren Maschinen auch optisch in Krisengebiete.
Die normalerweise vertikale Ausrichtung des Waldes, ging über in ein lineares und lichtes Durcheinander von noch stehenden Bäumen, liegendem aber noch nicht aufgearbeitetem Schadholz, klar geschlichteten Holzstößen, Jungbäumen und Buschwerk. Diese optische Veränderung nahm ich zum Anlass, großformatige in schwarz-weiß gehaltene Tuschezeichnungen anzufertigen, die auf diesen Bruch des Gewohnten eingehen und thematisch die Zerstörung dieser wirtschaftlich genutzten Landstriche darstellen sollen.

wald Kubinhaus maerz zeichnung Gregor Graf

Wald 2 / 147 x 101cm / ink on paper

wald Kubinhaus maerz zeichnung Gregor Graf

Sturm / 150 x 120cm / ink on paper

In 2018 and 2019, the Austrian forests Waldviertel and Mühlviertel suffered serious damage due to extreme climate changes. After unusual amounts of snow, these forests experienced a long period of dryness and warm temperatures that facilitated the breeding of the bark beetle. As a consequence, large amounts of wood had to be taken from the forest areas which transformed visually the landscape.

As Gregor explains, “the normally vertical orientation of the forest merged into a linear and light jumble of standing trees, lying but not yet processed damaged wood, clear-cut logs, young trees and bushes.” The need the artist felt to register these changes in such raw and physical gestures – big brush and dark ink against the fragility of paper – reveals this close relationship we have to what surrounds us. An emotional, familiar, collective connection to the sceneries of our memories.

wald Kubinhaus maerz zeichnung Gregor Graf

Buchdrucker / 150 x 109cm / ink on paper

“Our house, apprehended in its dream potentiality, becomes a nest in the world (…) The nest, quite as much as the oneiric house, and the oneiric house quite as much as the nest – if we ourselves are at the origin of our dreams – knows nothing of the hostility of the world.” (Bachelard, 1994: 103)

Our sense of belonging to spaces culminates now that we are forced to stay home. The shelter that protects us from the outside world just as the nest guards the birds against harm. The place where we build our memories, grow our creativity and exist within our deeper self. The global conflict we’re living is being solved through individual actions towards a collective good – an isolated but convivial existence not only between ourselves but also with nature, that continues to regenerate itself while we are confined.


Bachelard, Gaston (1994), The Poetics of Space: The Classic Look at How we Experience Intimate Places, translated by Maria Jolas, Boston: Beacon Press.

wald Kubinhaus maerz zeichnung Gregor Graf
wald Kubinhaus maerz zeichnung Gregor Graf
wald Kubinhaus maerz zeichnung Gregor Graf
wald Kubinhaus maerz zeichnung Gregor Graf

Scheiben / 40 x 40cm each / ink on paper

 

“The day advanced as if to light some work of mine; it was morning, and lo, now it is evening, and nothing memorable is accomplished. Instead of singing like the birds, I silently smiled at my incessant good fortune. As the sparrow had its trill, sitting on the hickory before my door, so had I my chuckle or suppressed warble which he might hear out of my nest. My days were not days of the week, bearing the stamp of any heathen deity, nor were they minced into hours and fretted by the ticking of a clock; for I lived like the Puri Indians, of whom it is said that “for yesterday, to-day, and tomorrow they have only one word, and they express the variety of meaning by pointing backward for yesterday, forward for to-morrow, and overhead for the passing day.” This was sheer idleness to my fellow-townsmen, no doubt; but if the birds and flowers had tried me by their standard, I should not have been found wanting. A man must find his occasions in himself, it is true. The natural day is very calm, and will hardly reprove his indolence.” (Thoreau, 1854: 122)

Thoreau, Henry David (1854), Walden or Life in the Woods, Boston: Beacon Press.

Gregor’s drawings are visual translations that show us a dialogue between his childhood and the process of construction/deconstruction these landscapes are going through as industrialized natural spaces. The forests are perceived both as natural and personal spaces and carry with them multiple layers of memories, narratives and connections.

In an increasingly globalized world, we are now even more aware of how connected and interdependent we all are and how it is impossible to distinguish humanity from nature. In this forced deacceleration of time, we are able to reflect and transform – through togetherness, collaboration, empathy, research, dialogue, creativity – the way the spaces are inhabited.

Exhibition views:

wald Kubinhaus maerz zeichnung Gregor Graf

Stumpf 1- 9 / 147 x 101cm / ink on paper / Künstlerinnen und Künstlervereinigung Maerz 2020, Linz

wald Kubinhaus maerz zeichnung Gregor Graf

Kubinhaus 2021 Upperaustria

wald Kubinhaus maerz zeichnung Gregor Graf

Künstlerinnen und Künstlervereinigung Maerz 2020, Linz

wald Kubinhaus maerz zeichnung Gregor Graf

art purchase Kunstmuseum Lentos, Linz