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Krummes Holz gibt auch gerades Feuer

PISIN was accidentally formed in 2013 when one painting student took too many small wooden boards to paint on and ran out of ideas. The boards were then given to a friend to paint on as a gestural base for his hard-edged work. Excited by this idea, a second, generally excitable, friend decided to do the same thing. Finally, another friend stole a painting without asking, painted on it, and brought it back. It looked finished. It looked good.

All four got excited and painted intensely for one week. At the end of that week, the result, around twenty paintings, were presented in an exhibition.

It was ok.

When that exhibition ended after a week, they cleared out the studio and had a second exhibition with fifty new works.

That exhibition was better – there was more work, more beer, a carpet, a sofa and a chair.

It was a great time and PISIN was born.

Then PISIN hibernated (artistically) for three years.



PISIN create works in the same way now as in its origins: One of the members starts a painting until they believe that painting is either finished or unresolvable. That painting is then sent to the next member until a minimum of two or maximum of four have made their mark. By using the former painting as a reference point, each painter starts to eliminate sections of the previous with new marks or painted areas as if it was his/her own work, or take that opportunity to try out something that has been on one’s mind.

When finished, each painting is then judged by all members and put into one of these three categories;

A) “I really like that, it’s a definite.” at which point, that painting is exhibition standard.


B) “It’s got a lot of interesting parts but there is something about it that doesn’t work.” where the painting is debated/painted on further.


C) “No, that’s shit!” where the painting is never to be seen again.

Within painting as a process, questions are asked throughout:

How do you know when a painting is finished?

How do you know what colour/mark/gesture/texture/shape to use where? How do you choose what to show and how to show it?

How do you judge a finished painting?

PISIN contributors have only a quarter of the responsibility to the finished work so there is no necessity to always have a good answer, or one at all. However, a general connection to the themes of painting is beneficial. PISIN paintings display a balance of uncertainty, contrasting personal marks and ideas and an attempt to find either a harmony or agreeable disorder in the work that will draw in a viewer and will push them to read the painting further. PISIN begin a large amount of paintings which unquestionably ends with a large number of ‘failed’ works. It has been within these that PISIN see the potential for failure and ugliness as a prospective theme as many of these paintings, either when joined together or left alone, have been some of the more satisfying to create and talk about. PISIN will continue to paint, learn from the process and exhibit work.