Jochen Görlach magical-realist paintings depict people as enigmatic marginal figures, just like the old masters re-packaged. They can be seen in the third and newest building of the Technology Park Tübingen-Reutlingen.
Görlach’s grandfather had been an icon-painting artist, inspiring and exposing Jochen Görlach to works in the style of the old masters. Art Historian Clemens Ottnad headlined the artist’s work as “Caravaggio Meets Down Town Girls in Ribbed Singlets”. He explained this title at the latest opening in the TTR-Building by describing, “on the canvases and works on paper, Jochen Görlach brings together what apparently does not belong together."
Görlach’s talent lies within his use of chiaroscuro, harking back to the dynamic light and shade revolutionaries of the early baroque period Michelangelo and Caravaggio. Görlach’s 48 works currently line the three floors of the Technologiepark zu Gast. His unusual production style can be described as a withdrawal method, outing the subject whilst still hiding it. For the audience, there isn’t really much to see at first glance, the audience has to work to get the picture. He chooses to highlight youthful subjects yet he isn’t choosing young people sitting around a campfire celebrating, no, he chooses them during their most unassuming moments, introverted, turned away from the viewer and for us to not to grasp.
Görlach’s preferred medium is photography with his digital camera. His photos usually illustrate people, mostly female in excerpts of volatile semi-darkness, sometimes alone, sometimes in a dialogue. Görlach rekindles the voyeuristic curiosity in the viewer. “By confronting us abruptly with its nameless edge and figures of ghostly apparitions, the photos urges us back to 1970 in the Reutlingen-born studio at the Echaz, where we have the role of the quasi-secret observer of the ignorant.” Through the darkness, the viewer is only allowed to slowly grope through the picture; the minor things become the perpetual objects of desire, all reaffirming Ottnad’s original point.
Quiet different to the usual presentation of large paintings and drawings behind glass, Görlach presents in a spatial installation. Görlach’s works line the foyer, creating a new world to emerge. Large picture photographs showing the descent into the land, gives the viewer a feel of freedom shielded by a wooden fence, appropriately situated as if it belongs there.