Elisabeth Plank (born 1960, Wels) is an Austrian painter.
Elisabeth Plank’s work is characterized by a fundamental affirmation of the medium of painting without questioning it conceptually. It is about the basic parameters of painting: colour, structure, form and pictorial space, which are worked on in changing aspects in a dialogue with the painting.
In the latest works, a subtle vertical-horizontal color composition is overlaid with biomorphic forms, creating an autonomous visual presence that also allows associations with Paul Klee and the Bauhaus.
From 1979 to 1984 she studied at the University of Applied Arts in Vienna with Oswald Oberhuber. She received grants for New York City (1991) and Tokyo (1992).
1986: Junge Szene Wien, Secession, Vienna
1992: Austrian Cultural Institute, New York (together with Edgar Honetschläger and Josef Ramaseder)
1996: (Antarctica) Brahma, Galerie nächst St. Stephan, Vienna
1996: Elements. Austrian Paintings since 1980, Hugh Lane Municipal Gallery of Modern Art, Dublin
2003: Die Antwort, Wittgensteinhaus, Vienna (mit Edgar Honetschläger)
2008: Mushrooms, Galerie Simone Feichtner, Linz
2011: Fischen, Lomnice, Czech Republic
2012: Aus der Sammlung, Lentos Kunstmuseum Linz
2014: Den Raum formuliert, Jesuitenfoyer, Vienna
2017: Parallel Vienna 2017, Artist statement, Vienna
2019: DISCRETE AUSTRIAN SECRETS, The Galaxy Museum of Contemporary Art, Chongqing, China
2021: wilde kindheit, Lentos Kunstmuseum Linz
About Elisabeth Plank’s work
Elisabeth Plank’s oeuvre does not establish a style, it is not rooted in any school or in any idealism, but in her own principled attitude. Her work consistently performs multifaceted metamorphoses without risking its authenticity. It is never a definitive statement, but rather a momentary utterance as a preliminary station in a permanent exploration and an unflinching affirmation of the medium of painting, which speaks directly from the work. She playfully balances across various stylistic devices, always alert to suggestions of any kind. Despite the many facets, the work stems from its own urge and follows the impulse from within.
Text by Margareta Sandhofer