by Marco J. Bodenstein
by Prof. Dr. Theo Reim
by Dr. Helmut Bachmaier
to: Élan Vital | Reality | Perception | Boody | Round | Female | Eros | Nature
One of his favourite motifs is the human, and especially the female, body. His nudes and similar sculptures are the best reflection of his aesthetic. In his "Also Sprach Zarathustra", Nietzsche wrote a diatribe against the "despisers of the body": "The human body is great common sense, a multiplicity with a single sense, a war and a peace, a herd and a herdsman."
Christian Peschke often geometrizes human bodies, thus drawing attention to anatomical disproportions. He dismembers and combines body surfaces, or segments them. In this way he creates new bodies, where the belly, thighs or sexual organs are especially emphasized. Welling, luxuriant flesh often lends a sensual edge to the baroque fullness of the body. The surface of the skin comes across as blotchy, used and "lived in". It is never the ascetic body, never the emaciated body deprived of life that we see – instead we see powerful bodies that are full of the power of life, the power of woman. The bodies are often intertwined in an embrace, creating an interplay of arms and legs; at other times the naked bodies are slumped down in a meditative, introverted posture.
The outer mark of identity of an individual is his or her face. Christian Peschke robs his figures of their faces: he de-individualizes and schematizes the face, while at the same time individualizing the body. Instead of a physiognomy of the face we here have a physiognomy of the body. To Peschke the human body is something entire, sensible, an individual truth and an entity filled with life. In In this body-art the senses and nerves, the skin and the arms – i.e. that which feels and that which touches – the thighs and the belly – i.e. that which opens and that which conceals – the back and the lap – i.e. the three-dimensional and the hidden – are hinted at and presented for discreet observation.