Marcel Frey is the second of three artists Frisur have invited to collaborate on exploring the potential of this season’s conceptual object. “Untitled” is a stack of 8 notebooks which embody the minimal aesthetic of FRISUR, designed to give complete freedom to the user through their simple staple binding, quality Munken paper and the omission of a cover or page markings.
Frey’s exploration of shape, perspective and depth actively blur the boundaries between image and space. From every angle a new element can be discovered and re-discovered through his paintings. Starting with a blank canvas and a can of spray paint, Frey shapes and contours the void until distinct elements are created. Generally reacting on the marks he leaves on the page rather intuitively, each piece informs his future choices and adds to his compositional archive.
Can you explain to me how you got into making art? Where did it start?
There is no clear starting point. There’s no particular background in my family except my father was a talented hobby painter in copying old masters. It was a process from childhood being creative, drawing and painting – through Graffiti as a teenager until the decision to study art at a Kunstakademie and doing something that you could call “art”.
And if you look at your work today, how have things changed since the beginning?
It’s not easy to give a shot answer on that. But there’s a red line I’m following since then. It could be called “a method”: Creating an environment and trying to find out what’s possible within it. What mainly changed from the early beginning is that I don’t work in or with nature anymore but rather with industrial materials.
So we invited you to use the “Untitled” notebooks as a part of your creative process, how was that? Could you talk us through what you’ve done in the notebooks and how that relates to your work?
It was great. The way you designed the sketchbook really fits to my needs. The way I used it was more a “with” than an “in”. The result is more an object or independent piece of art than a common notebook. But it’s still a form of sketching in a way since I would normally do these works on canvas. For me the chance to disassemble the sketchbook easily to be able to work on one big sheet of paper made this way to work possible.
Could you talk us through what you’ve done in the notebooks and how that relates to your work?
As I mentioned I disassembled the sketchbook into single sheets of paper, I then folded the paper and sprayed over it in varying forms and repeated this process of folding and spraying 2 or 3 times. The result is something like a painting out of a systematic process, something that is mainly originated out of itself. This process sits very closely to that which I would use on my final canvas pieces; setting out methods or rules and applying them again and again onto the given form, reacting on the results until it is complete.
Last of all, what are your favourite pieces of the collection?
It was great to see all the pieces of the “The Artist” Collection live at the FRISUR studio. I like the minimal look but it is important to get a feeling for the details that give each peace a bit “more” than minimal. Applications that make a jacket pocket look bigger than it is. The special fabrics, the buttons – some with a pearlescent glimmer, some like silver. The pieces have a soul and that’s also the reason why I like that you give them names. So some of my favorite characters are ASIR jacket, LUKAS, COLIN or PAUL. I also like the KATA shirt – for women.
* Perforythme ( Nr. 2 ), 2016
70.2 x 46.7 cm (gerahmt 82 x 58 cm)
Farbpigmentdruck auf 308 gr. Hahnemühle PhotoRag