After the phase of experimenting, the square color zones establish themselves again. This vocabulary is intuitively taken up anew. However, the approach to this picture principle has become more open and liberal. There are newer formats in relation to the proportion of the sides which were previously unused. There are new surface shapes that derive from the composition of squares. And new possibilities are searched for which, as an exception to the rule, establish white as a color in the picture. Two extreme approaches were implemented. Firstly, the white is allocated a square zone just as the other remaining colors. Secondly, the white takes on the role of a color border. Thus a white grid network is created based on earlier picture samples. The difference to pictures from 1974, for example, is that the grid’s white space forms an All-over. The color, in contrast, is freely placed as in a typical composition because the message, the color poetry, has priority. Such a color arrangement forms a free and irregular weighting which influences the grid again. The grid’s regularity is thus qualified. Where the colors are darker, the contrast is greater, thus the grid appears stronger. Regularity and irregularity create a tense ambivalence.
Acrylic on canvas
60 x 45 cm
Sammlung
Müller-Dannhausen