Phase IV
Space and area
New, light-bathed spaces begin to emerge through the interplay of finely hued colour transitions and distinct lines, some of which seemingly fade in reflective radiant white. Longer contemplation of some of the original art works then reveals refulgent, neon-toned bright surfaces unfurling even beyond the picture frame. This phenomenon could be perceived as a sensual transcendence towards infinity.
Nominated for the 7th International André Evard Prize, Kunsthalle Messmer,
Riegel am Kaiserstuhl: In the first two thirds of the composition, three vertical rectangular chromatic fields pervade the entire height of the surface in a tension-filled yet serenely lucid arrangement: A warm yellow illuminates the lower section of these fields, whereby their varying width tapers gradually from left to right. These vertical colour fields, applied in glazed layers, gradually transition into softer horizontal layers of cooler yellow hues until apparently melding with the surrounding surfaces in the upper section The glazed layers applied to these vertical colour fields merge with the gentler horizontal brushstrokes in increasingly cooler shades of yellow before seemingly dissolving into the adjacent upper sections. Yet an imaginary line runs all the way to the top, thereby maintaining its precisely defined form in a brilliant white hue which is rendered particularly luminous through the use of reflective pigments. On second glance, bright fields of light neon-blue or neon-purple emerge, which apparently pass across and beyond the frame. Other vertical yellow lines then gradually become discernible, thus reinforcing the impression of movement within the yellow-tinted fields.
Nominated for the 20th Fürstenfeldbruck-District Art Prize: The initial velvet-black rectangle in this painting retracts to occupy one third of the surface. The subsequent narrow, vividly clear white line marks the onset of an expansive, spatially evocative bluish tone, which, initially faint, indeed, virtually transparent, gradually evokes a deep blue that evolves into a voluminous expanse. The viewer feels drawn to immerse himself in this apparently boundless blue.
Nominated for the 20th Fürstenfeldbruck-District Art Prize: The first two thirds of the square painting feature a velvet-black rectangular form. The subsequent narrow vertical line in brilliant clear white, provides powerful reinforcement for the onset of light-blue shading, which, initially discreet, then intensifies into a deep ultramarine blue towards the right edge of the frame. The bright, almost translucent blue appears to convey the light-emanating white line into the depths of the increasingly darkening blue.
Nominated for the 20th Fürstenfeldbruck-District Art Prize: Bathed in rich red, this square composition is illuminated by gentle orange accents along the left side of the frame. These accents subtly offset the predominance of red, thus conveying a sense of spaciousness. This effect is endorsed by three, satin-black vertical lines of varying width arranged in a clear order and layered across the red surface. The first vertical black line casts a dark hue over the luminous orange, which can still be momentarily discerned along the right edge of the broad line before it, too, melds seamlessly with the warming red.
The art work with twenty-five equally sized black squares arranged in chessboard fashion forms part of a three-part series. For me, the exclusively black colour scheme was a conscious choice, reflecting the sense of experienced darkness; the use of black symbolises a challenging period of disunity, restriction, and alienation within society.
Nominated for the 19th Fürstenfeldbruck-District Art Prize: Rich, warming shades of yellow culminate through an evenly apportioned gradient in a luminous yellow horizontal plane, which prompts associations with reflected light. This luminosity is superimposed by way of a perpendicular, velvet-black rectangular form emanating from the base of the painting. The sharp contrast rendered by the velvet-black surface, the evenly applied brushwork and distinct lines of the superimposed form, reinforce the yellow’s vibrancy and thus convey a sense of tranquillity to the composition’s dynamic surface.
Nominated for the 19th Fürstenfeldbruck-District Art Prize: Striking, warm yellow tones culminate through a flowing vertical cascade of colour into a luminous yellow towards the central section of the composition. The ensuing effect of transparency and spatial depth is further enhanced by two rectangular figures rendered in sumptuous black. The yellow accentuates the vertical aspect, while the two black rectangles emanating from either side of the composition highlight the horizontal dimension. These elements, coupled with the striking contrasts, amplify the compositional tension and thus magnify the work’s overall spatial depth.
The 21 translucent layers in a rich ultramarine blue evoke the sense of depth, which is yet further accentuated by the colour gradient as this progresses from the composition’s darker base to its more luminous apex. Two silk-black rectangular figures impose formal austerity across the seemingly transparent surface. While the vertical rectangle extends from the picture’s base, its horizontal pendant appears to levitate effortlessly above the azure depths.
