Selected Work

Direct Transit

2017-

Direct Transit draws together objects, records, imagery, stories, and inspiration from what little of the artist's family history has survived, and uses these to create documentary and imagined works on migration, loss, and multi-generational memory, bringing a very personal history into dialogue with contemporary discussions on war, migration, and religious discrimination.


Queen Mary, 2017 | watercolor on paper | 40x30cm (15.7"x11.8")
Macy's, 2017 | watercolor on paper | 40x30cm (15.7"x11.8")
Page 7 (US&UK) II, 2018 | oil, graphite and colored pencil on canvas | 100x150cm (39"x59")
Crystal Photos, 2017 | watercolor on canvas | 40x30cm (15.7"x11.8")

Variations - Kulturengeflechte

2016-2017

Following an in-depth investigation into post-war modern architecture, Fabian Patzak has now shifted his focus to the details: shapes and patterns. While continuing to incorporate impressions of architectural elements inspired by buildings in Western Europe and the US, the works in "Variations - Kulturengeflechte" make ample reference to historically non-Western patterns, and investigate the borders between what have, in modern history, been identified as cultural markers and separate contexts.


Small Wall, 2017 | oil on canvas | 40x30cm (15.7"x11.8")
Variation on a Bank Building in Vienna, 2016 | oil on canvas | 100x120cm (39"x47")
Variation on a Concrete Screen Wall in Vienna, 2016 | oil on canvas | 100x120cm (39"x47")
Variation on a Moroccan Carpet in Italy, 2017 | oil on canvas | 100x120cm (39"x47")
Variation on a Moroccan Pattern in Italy I, 2016 | watercolor on paper | 24x33cm (9.4"x13")

Unugly Buildings

2013-16

With his series Unugly Buildings, the artist Fabian Patzak reconsiders the aesthetic and critical evaluation of mid-century modernist structures as “ugly.” Focusing on the materials of these buildings, and their interplay with the natural environment, Patzak explores some of the formal qualities that endowed modernism with a sense of opportunity and expressiveness in its early manifestations. And by isolating the structures from the landscape, he reframes previously dismissed work by architects, like the Austrian Georg Lippert, in new angles, providing the viewer with unexpected glances at familiar places, as well as vistas free of the cultural and psychological conditioning that often factors into analyses of architecture, particularly its elevation to the status of “beautiful,” or relegation to “ugly.”

ESG


Offices on Prinz Eugen Strasse, 2015 | oil on canvas | 130x170 (51"x70")
Balconies on Wagramerstrasse, 2015 | oil on canvas | 100x140cm (39"x55")
Offices on Hollandstrasse, 2013 I oil on canvas I 135x170cm (53"x70")
Windows on Sonnwendgasse, 2016 | oil on canvas | 130x170cm (51"x70")
Hotel on Marseillerstrasse II, 2014 | oil on canvas | 130x170cm (51"x70")
Apartments on Arnoldgasse (Hanni's House), 2015 | oil on panel | 50x70cm (19.6"x27.5")

In Lieu Of

2011-14

The emotional resonance of architectural space has been investigated by numerous artists, architects, and critics. Whether their responses are conditioned through social or cultural interactions, memory, or personal relationships to light, color, and form, the individual´s experience of the built environment, or place – its phenomenological and more psychologically charged metonym – is unique. The open-ended meanings and interpretations of those experiences are formed through concrete interactions with shapes and materials as well as by the aspirations and thoughts with which the mind fills man-made – and natural – space.

ESG


Windows on Argentinierstrasse, 2012 | oil on canvas | 170x200cm (70"x78.7")
Macon Yard (Roy's Place), 2011 | oil on canvas | 100x140cm (39"x55")
Vienna DC at Night, 2012 I oil on panel I 70x100 (19.6"x27.5")
Pavillion on Laaer Wald, 2012 | oil on panel | 70x100cm (19.6"x27.5")
Araucaria Araucana in Hernals, 2014 | oil on canvas | 60x80cm (19.6"x31.4")
Schnitzel on Wagramerstrasse II, 2015 | watercolor on paper | 20x31cm (7.8"x12.2")

Inventing Experience

2008-11

In this collection of work, Fabian Patzak extends and refines the concerns of his past projects through an exploration of the psychological connections attached to architectonic spaces, whether perceived through lived experience, memory, emotion, thoughts, or dreams. Similar to Adolf Loos and Frederick Kiesler, who schematized architecture and its interiors to include the mental and tactile, Patzak dispenses with time and scientific observation to construct space and considers the phenomenological and psychic values that shape perceptions of both literal and metaphorical environments.

ESG


Wall on Oxford Street, 2009 | oil on panel | 18x24cm (7"x9.4")
Lamp on J Street, 2010 | oil on panel | 35x45cm (13.7"x17.7")
PS Kaisermuehlen, 2011 | oil on panel | 24x30cm (9.4"x11.8")
Window on Oxford Street, 2009 | oil on panel | 18x24cm (7"x9.4")
Windows on First Ave, 2010 | oil on panel | 18x24cm (7"x9.4")
Stairs on Macon Street, 2009 | oil on canvas | 100x150cm (39"x59")