• Greetings from Manhattan / New York, Oil on canvas, Exhibition view Künstlerhaus Bregenz, Austria
    Greetings from Manhattan, Oil on canvas
    Christian Eder
    Exhibition Künstlerhaus Bregenz
  • space-greetings from manhattan-new york-christian eder
    Greetings from Manhattan
    Exhibition view
    Künstlerhaus Bregenz, Austria
    Oil painting on canvas, 2019
  • work in space-exhibition-kuenstlerhaus bregenz-manhattan series
    Circle 1, 2019, Space, Künstlerhaus Bregenz
  • white circle in white square-space-christian eder-vienna
    Circle, 2019
    Acrylic on canvas
    120 x 1230 cm
  • work in space-christian eder-artwork
    Atelieransicht Illmitz
  • black circle in black square-eder vienna
    Circle, 2019, Christian Eder
  • exhibition view-gallery space-christian eder-galerie artmark vienna
    Exhibition view, Artmark Gallery, Vienna
  • studio-view-christian eder vienna-vienna
    Schwarze Diagonalen auf weißem Rechteck, 2020
    Öl auf Leinwand
    200 x 14 0 cm
  • Layering-studio vienna-Painting-artwork
    Layering, 2018
    Christian Eder
    Painting Oil on canvas
  • Reihe-work in space-christian eder
    Reihe, Holzbjekt, 2019
  • space-circular segments-manhattan-christian eder
    Circle, Circular segments
  • work in space-studio-view
    Raumansicht, Atelier 2019
  • space-Red-Painting-Christian-Eder-arwork
    Red, Oil on canvas
    100 x 100 cm
  • space-circular segments
    Kreissegmente, 2020
    Acryl auf Holz, je 70 x 79 cm
  • eder christian-circle-object
    Circle, 2020
    Christian Eder
    80 x 80 cm
  • Christian Eder-vienna - oil on canvas
    O.T. , 2015, Öl auf Leinwand
    100 x 100 cm
  • Licht- Schatten-Komposition, 2017
    Licht- Schatten-Komposition, Fotografie, 2017
  • Stadtmuseum Bruneck-work in space-christian ededr
    Stadtmuseum Bruneck, Ausstellungsansicht, 2018
  • Christian Eder-exhibition view-schloss lamberg-steyr
    Christian Eder
    Ausstellung Schloss Lamberg
    Kunstverein Steyr
  • Ausstellung-Christian Eder-Stadtmuseum Bruneck (I)
    Stadtmuseum Bruneck, Christian Eder
  • space-christian eder
    Galerie Artmark 2007
  • Brunneck, Stadtmuseum-parallele Ordnungen-exhibition view
    Brunneck, Stadtmuseum: Christian Eder-Parallele Ordnungen
  • space-exhibition view-Künstlerhaus Bregenz
    Ausstellung Konstellationen zwischen Linie und Raum
    Künstlerhaus Bregenz
    2019 - 2020
  • space-exhibition view-oberösterreichischer Kunstverein
    Ausstellung Oberösterreichischer Kunstverein Linz
    Ausstellungsansicht Christian Eder
  • Schloss Lamberg-Steyr-Oberösterreich-exhibition view
    Austellungsansicht, Schloss Lamberg
  • space-Kulturzentrum der Minoriten-work view
    Kulturzentrum der Minoriten, Graz
  • Ausstellungsansicht-Stadtmuseum Bruneck-Brunico
    Stadtmuseum Bruneck (I)
  • Galerie Artmark-Vienna-space
    Galerie Artmark, Wien
  • space-parallel orders-museum Bruneck-italy
    usstellungsansicht Stadtmuseum Bruneck
  • artworks in spaces
    Steyr: Kunstverein Steyr, Ausstellungsansicht Christian Eder
  • Space Shuttle-object-studio eder
    Space Shuttle, Acrylic color on plywood, 110 x 14 cm
  • Konstellationen zwischen Linie und Raum-space-artworks
    Künstlerhaus Bregenz 2019: Ausstellungsansicht Konstellationen zwischen Linie und Raum
  • painting-black and white-Eder-space-vienna
    O.T., 2020
    Acryl auf Leinwand
    140 x 100 cm
  • manhattan-series-eder-arworks-space
    Ovalformation, 2019
    160 x 120 cm
    Christian Eder
  • manhattan-series-eder-detail


Contemporary abstract works in different spaces and constellations: The exhibition and room views shown here include paintings on canvas as well as objects.

Christian Eder’s abstract works take a fundamental look both at the potentials of color and sensory perception, and the limits of traditional painting. The starting point is always the challenge of how to cope with an area. The emerging interplay allows contrasts between black and white, color and non-color, area and line, shape and shapelessness to develop into dynamic picture arrangements, mostly in a square format.
Eder's painting "Greetings from Manhattan" is a characteristic work of the latest series of these paintings. The picture was created over a long period of time in a process of overpainting, adding vertical and diagonal fields and lines. Their surface appears before the eye as a dense system of lines and bands, executed in alternating rhythm up to the edges of the picture. The painting, whose execution is strictly bound to the surface, begins to move and oscillate: The surface becomes space.

In these workgroups, the background is dominated mainly by contrasting black and gray stripes. On top of this, white lines emerge within shapely formations. These lines serve as a visual guide, an interplay between the colors of the foreground and the grayand black interplay of stripes in the background.

The layout of Eder's complex, colorful geometric painting has been compacted through a long process of assessing and testing the colors and visual effects that arise from the juxtaposition of these narrow lines of color, ribbons, and stripes. Theeven distance separating each parallel line instills the painting with a sense of uniformity. Alternating stripes of thinly applied paint divide the image into horizontal and vertical sectors. Like a network or a grid structure, these stripes are what hold the systemtogether. In contrast to this, the diagonals break open the inner balance of the paintingstructure.
Vivid colors appear to expand, continuing on to the pale white of the walls. Fine, densely set lines of color overlap or transverse the gray and black stripecombinations,always at a right or an acute angle. In stark constrast, the colors develop theirown visual life.

Unlike other works in recent years, these newest paintings are no longer the result of awell thought-out process, planned down to the very last detail. Instead, the focus is nowon an intuitive process carried out directly on the canvas. This can sometimes be seen in small breaks or shifts in the lines, generating vibrations of color in the observer’s eye, orby densely painted lines that seem to set the paint in motion and cause a new color to emerge in the eye of the beholder. Customary viewing habits dictate that we always approach a picture on the wall directly from the front. However, if we change our position and approach one of these images from an angle, the dense lines begin to vacillate vividly. Contrasting colors alternate between the fore and background, merging with the adjacent line segments to create newcolor impressions, and instigating a feeling of constant motion. However, it is not the lines of paint themselves that move, but the human eye that is being stimulated into constant motion. The observer is invited to delve into the interactions of space, geometry, texture, and color and to contemplate their own perceptions.





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