Armin Boehm (b. 1972, Aachen) is a German painter, who lives and works in Berlin.
From 1995-1996 he studied at the Staatliche Kunstakademie Münster and from 1995-2001 at the Staatliche Kunstakademie Düsseldorf in the class of Konrad Klapheck and Jörg Immendorf. He then became protégé of Jörg Immendorf and stayed for a scholarship in Paris, France.
The observation of scientific and human boundaries serves as a basis to Armin Boehm’s paintings, as well as the reference between urban and natural habitats which the artist uses to pursue the possibilities of painting. His use of forms based on the vocabulary of Modernism pools specific occurrences in his paintings, which appear to be atemporal both in their disassociation and vagueness. The artist discusses motifs where the physicalness of the depicted evolves from the interference with form, colour and the collaged elements – Boehm, however, retracts, dissolves or abstracts the figurativeness in the painting whilst painting it.
With a collage technique the artist combines fragments of colour, fabric, paper or metal substances from which the body of his paintings crystallizes and virtually stands out plastically – in his latest paintings this is achieved especially by materially integrated fields of colour. The fragmented and perspectively cut depiction of space and figures dissolves the corporeality of the depicted synthetically. At the same time, however, image layers which are dissolved and reciprocally affected open up to fictional situations, which unite introspection and supervision of an event.
Armin Boehm’s paintings oscillate between origination, presence and abstinence regardless of their sujet, that is not really tangible and finds itself somewhere between landscape and portrait painting. Existence and disappearance becomes valid in the haptic of the surfaces of Armin Boehm’s paintings, and compositions, too. The question points to the possibility of painting that the artist lets become subject while developing his painting between figuration and symbolic.
(Courtesy of Meyer-Riegger)