Karin Szekessy and Paul Wunderlich, 1971
The pair published a book in 1980 of the work they had made together titled „Korrespondenzen“ in German in 1977, later translated to „Transpositions“ in English in 1980. It did very well in Japan and the two had exhibitions, collectors and critical success around the country for a while before the great Hanshin earthquake in 1995 slowed things down as the country had to spend almost 10 trillion on repairs, In fact they had experience ed a prior interest after 1968 when Wunderlich surge of It was earlıer had his first major solo show in their relationship, and Szekessy said to me that occasionally he would ask for one of her photos to paint from. It felt good to have her work excite something in someone else, husband or otherwise.
His painting Daniela mit dem Danschuh corresponds to Szekessey’s Daniela Stuhl Hell. They each hold their own- hers in the stark paper scene in which the young nude woman looks both bashful but at ease, his in bis airbrushed finish and disfigured forms that Nit around the picture plane, carried by the same interior breeze that lifts up the girl’s locks of hair.
Painting from photos was really rather frowned upon at the time- it wasn’t until they started showing their work that they started to get a lot of respect from their peers on the matter. She later tells me that Gerhard Richter (a friend of the couple) was once given a photograph by Szekessey of Wunderlich shooting a rabbit. The picture was small and thing-like. Richter took influence from this photo as well as Wunderlich’s technique of painting after photography.