Anyone who visited Josef Pillhofer’s sculpture classes in the 1970s, like Andrea Tomitsch did, left the education, oriented towards classical modernism. Prepared to fulfill the claim for aesthetic sustainability one entered a world, where the whole vibe seemed to be rather fluid and contradictory. The topics of political and social issues twisted the arts at that time. The expression of the time is, therefore, experimental and action-oriented.
This was the reason why Andrea Tomitsch left the cubist sculpture and turned to experimental abstract painting. She saw this as a way of breaking free from the dominant forms of tectonic sculpture, where personality was solely limited to the choice and development of spatial conception, the clarification, and maintaining the work processes.
Recently, Andrea R. Tomitsch has once again returned to the vivid reality. However, there is also a third element present in her newest works, particularly those depicting psychologically charged situations, mostly demonstrating a constellation of three. The figures are hereby again greatly reduced, to put emphasis on the exemplary representation of their interpersonal relationships.
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