The second wave of the epidemic had spread along with thousands of refugees coming from the east. Europe was destroyed and Germany split in many ways, when he set off with his family and moved to core-area of the typhus infections. His wife and he were doctors and started an outpatient clinic in a small town called Schwaan. They provided medical care for refugees and farm workers in this rather barren area.
I do not know whether it was self-initiative or an imposed work of atonement. I found a photo album from the 1950s. Sixty fragile black and white images still reflect my grandfather‘s approach in the midst of the adverse circumstances back then.
One picture per page, carefully taken with a square film camera, focused, curious and mindful, even loving - but just landscapes. In a storm of self-doubt however, he burned all the negatives before he passed away.
During the Cold War, my parents and we children had fled East Germany with forged passports to find new prospects. On the other side of the Iron Curtain we tried again and again to build a home for ourselves in various places and in certain aspects we succeeded.
For the last few years I have been working on the pieces of a big puzzle, or rather, I invent these pieces: large, shaped canvases like paper cuts or snippets, mostly monochrome and somehow unclassifiable. Because of their size they appeal to your whole body.They are influenced by hard-edge painting and abstract expressionism.
My grandfather though taught me how to draw soldiers and all kinds of facial expressions and inspired me to become a painter. But he would not have wanted to follow me into the fields of abstract and conceptional art.
Seventy years later, our positions could not be further apart. Sensing this distance and discovering those sincere loving perspectives of vanishing landscapes, the pulse was set for a new approach and for new work.
Scharfkantige Linien, Bildüberlagerungen, Positiv- und Negativformen und die unerwartete Komplementierung. Das monochrome Farbfeld auf dem Found Footage erzeugt neue Bildräume, die Barrieren schaffen und zugleich überwinden. Durch kolorierte Formen werden bestehende Bilder in Teilen unkenntlich gemacht und wecken indes eine Neugierde in der Bildbetrachtung.
Peter Klare fügt in seine neuen Collagen Arbeiten der Werkgruppe »Shapes« in Landschaftsfotografien ein, die aus dem privaten Familienalbum stammen. So werden die Kompositionen zu gedanklichen Sehnsuchtsorten des Künstlers und beschreiben auf der Spur der eigenen Identität ebenso die Herkunft. Wie auf einem Schachbrett prallen gegensätzliche Behauptungen aufeinander, sie bedrängen sich, ergänzen sich und formen im Zusammenspiel das neue Bild._______Greta Kühnast 2022