The development of consistent colour painting began in 1974. Many years were previously devoted to abstract painting (since 1963) and an intensive study of the geometric visual vocabulary (since 1971). Color dominance is now new, becoming the essential element as opposed to a formal characteristic. Form recedes so far that there is no longer a need for a typical composition with formal tension. Instead, an iterative system is formed which evenly covers the surface and which endlessly continues beyond the picture’s borders. A “wallpaper” is created, an objective All-Over in contrast to Pollock’s subjective All-Over. The colours do not occupy an individual space in the picture; they are basically everywhere. More importantly, however, are the individual color values whose combination creates the poetic message of the picture. This would normally mean that color is more important than the constitution of a formal pattern. It is the opposite: the pattern constitutes the presence of color. Based on past development, the form retains a certain momentum despite the dominance of color, which manifests itself in visual effects. However, the decision against Op Art and for color poetry was very deliberate. The attempt at Op Art comes from an acquired creative talent. The inclination to color poetry, in contrast, comes from an emotional need for expression. The course is set.
Acrylic on canvas
140 x 100 cm
Sammlung
Müller-Dannhausen
Acrylic on canvas
140 x 100 cm
Sammlung
Müller-Dannhausen