• DIRECT TRANSIT at das weisse haus, curated by Boris Ondreička (@borisondreicka) . Soft opening October 28, 4-9pm at dass weisse haus (@dasweissehaus) . Duration: October 28 - December 12, 2020
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    DIRECT TRANSIT at das weisse haus, curated by Boris Ondreička (@borisondreicka) . Soft opening October 28, 4-9pm at dass weisse haus (@dasweissehaus) . Duration: October 28 - December 12, 2020
  • ‘Large Crumbling Wall’ (2019) is currently on view in the group exhibition ‘Apeirogon, part I’ at the Silvia Steinek Galerie (@silviasteinekgalerie) in Vienna. . Participating artists: Renate Bertlmann, Robert Barry, Joseph Binder, Ian Hamilton Finlay, Sébastien de Ganay, Olga Georgieva, Albert Paris Gütersloh, Matthias Herrmann, Christian Macketanz, Otto Muehl, Hermann Nitsch, Fabian Erik Patzak, Gudrun Kampl, Nina Werzhbinskaja-Rabinowich, Dieter Roth, Clemens Wolf
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    ‘Large Crumbling Wall’ (2019) is currently on view in the group exhibition ‘Apeirogon, part I’ at the Silvia Steinek Galerie (@silviasteinekgalerie) in Vienna. . Participating artists: Renate Bertlmann, Robert Barry, Joseph Binder, Ian Hamilton Finlay, Sébastien de Ganay, Olga Georgieva, Albert Paris Gütersloh, Matthias Herrmann, Christian Macketanz, Otto Muehl, Hermann Nitsch, Fabian Erik Patzak, Gudrun Kampl, Nina Werzhbinskaja-Rabinowich, Dieter Roth, Clemens Wolf
  • ‘Small Crumbling Wall’ beautifully framed and displayed in the collection of my friend, artist and author @michael__huey.
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    ‘Small Crumbling Wall’ beautifully framed and displayed in the collection of my friend, artist and author @michael__huey.
  • The following video and photographs document the making of the linocut edition “Windows on Oxford Street” in the spring of 2020 at Zein Editions (@zeineditions). . The edition is based on a 10 year old series of oil-on-panel paintings of a dilapidated building in North Philadelphia. . I’ve begun revisiting older motifs and themes—translating some of them into etchings and linocuts, and expanding on others in the form of new work. . Prints available at: store.fabianerikpatzak.com DM for inquiries.
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    The following video and photographs document the making of the linocut edition “Windows on Oxford Street” in the spring of 2020 at Zein Editions (@zeineditions). . The edition is based on a 10 year old series of oil-on-panel paintings of a dilapidated building in North Philadelphia. . I’ve begun revisiting older motifs and themes—translating some of them into etchings and linocuts, and expanding on others in the form of new work. . Prints available at: store.fabianerikpatzak.com DM for inquiries.
  • Windows on Sonnwendgasse (2016) Oil on canvas, 130x170cm . On view in the 2016 exhibition Stadt Bild at Galerie Gans in Vienna.
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    Windows on Sonnwendgasse (2016) Oil on canvas, 130x170cm . On view in the 2016 exhibition Stadt Bild at Galerie Gans in Vienna.
  • This painting will be on view at this year’s PARALLEL art fair in September. . Thanks to @estherartnewsletter for including me in her presentation, which she calls Esther’s Friends. . Entrance on Rasmussengasse II, 2014 Oil on panel, 60x50cm . Participating artists: @annaattar @aramnondavid @alfredo.barsuglia @gianlu_capozzi @rudi_cotroneo @eisenbergerchristian @hans.glaser.9 @ffranzgraff @mariogrubisic_studio @yveshayat @atelier_heshmat_vie Wolfgang Herzig @olivia_kaiser_painter @merlinkratky @larissaleverenz @iddomarkus @fabian_erik_patzak @florian.raditsch Hubert Scheibl @stylianos.schicho @karen_hollaender Martin Schnur @felixtheile @martin_veigl @atelierevawagner @nazimunalyilmaz @zatarosama
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    This painting will be on view at this year’s PARALLEL art fair in September. . Thanks to @estherartnewsletter for including me in her presentation, which she calls Esther’s Friends. . Entrance on Rasmussengasse II, 2014 Oil on panel, 60x50cm . Participating artists: @annaattar @aramnondavid @alfredo.barsuglia @gianlu_capozzi @rudi_cotroneo @eisenbergerchristian @hans.glaser.9 @ffranzgraff @mariogrubisic_studio @yveshayat @atelier_heshmat_vie Wolfgang Herzig @olivia_kaiser_painter @merlinkratky @larissaleverenz @iddomarkus @fabian_erik_patzak @florian.raditsch Hubert Scheibl @stylianos.schicho @karen_hollaender Martin Schnur @felixtheile @martin_veigl @atelierevawagner @nazimunalyilmaz @zatarosama
  • Thank you Les Nouveux Riches Magazine (@lesnouveauxriches.mag) for the feature! . Link to article in bio.
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    Thank you Les Nouveux Riches Magazine (@lesnouveauxriches.mag) for the feature! . Link to article in bio.
  • Two Crumbling Walls, 2019 Oil and ink on canvas 60x80cm (23.6”x31.4”)
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    Two Crumbling Walls, 2019 Oil and ink on canvas 60x80cm (23.6”x31.4”)
  • On Friday, June 17 (4-9pm) I will be presenting the ‘Queen Mary’ lithograph edition at the workshop where it was created (@zein_editions). Since the prints were produced in the week of March 9-13, 2020 this will be the first time they can be seen “in real life.” I look forward to seeing you there! . At the workshop you will be provided with exclusive insights into the printing process as well as the opportunity to see further works that have been created there in recent years by: C. L. Attersee, Alfredo Barsuglia, Anna-Maria Bogner, André Butzer, Günter Brus, Olga Chernisheva, Jan Jedlicka, Martha Jungwirth, Brigitte Kowanz, Constantin Luser, Juman Malouf, Hermann Nitsch, Nick Oberthaler, Stylianos Schicho, Deborah Sengl, Sophia Süssmilch, Tomak, and Andreas Werner.
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    On Friday, June 17 (4-9pm) I will be presenting the ‘Queen Mary’ lithograph edition at the workshop where it was created (@zein_editions). Since the prints were produced in the week of March 9-13, 2020 this will be the first time they can be seen “in real life.” I look forward to seeing you there! . At the workshop you will be provided with exclusive insights into the printing process as well as the opportunity to see further works that have been created there in recent years by: C. L. Attersee, Alfredo Barsuglia, Anna-Maria Bogner, André Butzer, Günter Brus, Olga Chernisheva, Jan Jedlicka, Martha Jungwirth, Brigitte Kowanz, Constantin Luser, Juman Malouf, Hermann Nitsch, Nick Oberthaler, Stylianos Schicho, Deborah Sengl, Sophia Süssmilch, Tomak, and Andreas Werner.
  • The year started off with a beautifully curated show by WARBLING (@warblingcollective) in London. . After a long hiatus, I’m cautiously getting excited to get the ball rolling on the next projects and exhibitions.
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    The year started off with a beautifully curated show by WARBLING (@warblingcollective) in London. . After a long hiatus, I’m cautiously getting excited to get the ball rolling on the next projects and exhibitions.
  • Vessels of international migration, cooperation, and exchange 1960s - 2010s. . Oil and ink on panel 18x24cm (7”x9.4”) 2019/20
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    Vessels of international migration, cooperation, and exchange 1960s - 2010s. . Oil and ink on panel 18x24cm (7”x9.4”) 2019/20
  • On the occasion of World Refugee Day I wanted to share a photo booth picture of my mother and her mother (my grandmother) Gerda, taken in the late 50s, early 60s in New York. . In 1939 Gerda (17) and her brother Kurt (20) both obtained US immigration visas in Vienna. Leaving their parents behind, the siblings first traveled together by rail to England where they were separated. Gerda boarded the S.S. Scythia in Liverpool and arrived at the port of New York on August 14, 1939. It would take Kurt another 8 months before he was able to board a ship. . In New York, Gerda met and married my grandfather, a fellow young refugee from Vienna who served in the US Army and contracted Malaria in the South Pacific. Upon his return from service, he co-founded two ladies handbag companies by the names of Escort Bags and Mamsell Bags. . At the time this picture was taken, it had been almost 2 decades since Gerda and Kurt’s parents had been murdered by the National Socialist regime in an obscure location in a Belarusian forrest (Maly Trostenic). I don’t believe my grandmother ever found out what exactly had happened to her parents. It was not until the late 90s, after her death, when a detailed account of their fate was published by the Documentation Centre of Austrian Resistance (DÖW). . #worldrefugeeday #familyhistory
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    On the occasion of World Refugee Day I wanted to share a photo booth picture of my mother and her mother (my grandmother) Gerda, taken in the late 50s, early 60s in New York. . In 1939 Gerda (17) and her brother Kurt (20) both obtained US immigration visas in Vienna. Leaving their parents behind, the siblings first traveled together by rail to England where they were separated. Gerda boarded the S.S. Scythia in Liverpool and arrived at the port of New York on August 14, 1939. It would take Kurt another 8 months before he was able to board a ship. . In New York, Gerda met and married my grandfather, a fellow young refugee from Vienna who served in the US Army and contracted Malaria in the South Pacific. Upon his return from service, he co-founded two ladies handbag companies by the names of Escort Bags and Mamsell Bags. . At the time this picture was taken, it had been almost 2 decades since Gerda and Kurt’s parents had been murdered by the National Socialist regime in an obscure location in a Belarusian forrest (Maly Trostenic). I don’t believe my grandmother ever found out what exactly had happened to her parents. It was not until the late 90s, after her death, when a detailed account of their fate was published by the Documentation Centre of Austrian Resistance (DÖW). . #worldrefugeeday #familyhistory
  • “Variation on a Moroccan Pattern in Italy II” found a new home.
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    “Variation on a Moroccan Pattern in Italy II” found a new home.
  • Vessels of transatlantic migration, cooperation, and exchange 1900s - 1950s. . Oil and ink on panel 18x24cm (7”x9.4”) 2019/20
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    Vessels of transatlantic migration, cooperation, and exchange 1900s - 1950s. . Oil and ink on panel 18x24cm (7”x9.4”) 2019/20
  • Back at Zein Editions (@zein_editions) printing an edition of 10 linocut/monotype prints based on the 2009 painting “Windows on Oxford Street.” DM for inquiries.
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    Back at Zein Editions (@zein_editions) printing an edition of 10 linocut/monotype prints based on the 2009 painting “Windows on Oxford Street.” DM for inquiries.
  • Neither Here Nor There (Curtain & Window Guard), 2020 Gouache on panel, 28x20cm (11“x7.8“)
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    Neither Here Nor There (Curtain & Window Guard), 2020 Gouache on panel, 28x20cm (11“x7.8“)
  • My love affair with sash windows continues. In this next phase of my work, I have been integrating old themes with new ones, drawing on all of my experiences and interests over the years. This is a work in progress... . “The wind came up, and Amory started as the wet branches moved and clawed with their fingernails at the windowpane.” F. Scott Fizgerald
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    My love affair with sash windows continues. In this next phase of my work, I have been integrating old themes with new ones, drawing on all of my experiences and interests over the years. This is a work in progress... . “The wind came up, and Amory started as the wet branches moved and clawed with their fingernails at the windowpane.” F. Scott Fizgerald
  • Here I was in mid March signing my lithograph edition of the Queen Mary—the ship my grandfather sailed on his 1939 flight to the United States. . These are some of my favorite prints, all of which feature unique monotype backgrounds. . 10% of all proceeds from the sales will to Caritas, an organization that supports refugees currently held in dire conditions in Greek camps. . See link in bio for more information. DM for inquiries.
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    Here I was in mid March signing my lithograph edition of the Queen Mary—the ship my grandfather sailed on his 1939 flight to the United States. . These are some of my favorite prints, all of which feature unique monotype backgrounds. . 10% of all proceeds from the sales will to Caritas, an organization that supports refugees currently held in dire conditions in Greek camps. . See link in bio for more information. DM for inquiries.
  • As the mandate for social distancing was slowly taking root in our shared reality, I was at Zein Editions (@zein_editions) in Vienna’s 12th district, printing a series of 30 lithographs depicting the ship my grandfather set sail on in 1939 on his flight from a world the likes of which he would never return to. . For me, one of the most difficult things to bare about the situation we are currently in, is being closed off from family and loved ones across the Atlantic. . I originally intended to celebrate the launch of this edition in my studio with a party. As that is not currently an option, and with other upcoming exhibitions and residencies postponed until further notice, I have—like so many of us—taken the presentation to the world wide web. Here’s to all of us who are trying to persevere in the face of unprecedented circumstances. I look forward to the conversations that ensue, and anyone interested can view, and of course purchase, the edition at: fabianerikpatzak.bigcartel.com. I am donating 10% of the proceeds to an organization that supports refugees who are currently held up in Greek camps under dire conditions with nowhere to go.
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    As the mandate for social distancing was slowly taking root in our shared reality, I was at Zein Editions (@zein_editions) in Vienna’s 12th district, printing a series of 30 lithographs depicting the ship my grandfather set sail on in 1939 on his flight from a world the likes of which he would never return to. . For me, one of the most difficult things to bare about the situation we are currently in, is being closed off from family and loved ones across the Atlantic. . I originally intended to celebrate the launch of this edition in my studio with a party. As that is not currently an option, and with other upcoming exhibitions and residencies postponed until further notice, I have—like so many of us—taken the presentation to the world wide web. Here’s to all of us who are trying to persevere in the face of unprecedented circumstances. I look forward to the conversations that ensue, and anyone interested can view, and of course purchase, the edition at: fabianerikpatzak.bigcartel.com. I am donating 10% of the proceeds to an organization that supports refugees who are currently held up in Greek camps under dire conditions with nowhere to go.
  • Concorde, 2019 Oil and ink on panel 24x18cm (9.4“x7“)
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    Concorde, 2019 Oil and ink on panel 24x18cm (9.4“x7“)