1 x 5 - 20220515 -F
| Edition | Original Art |
|---|---|
| Sujet | Abstract |
| Technique | Painting |
| Height | 100 cm |
| Width | 20 cm |
| Length/Depth | 1.6 cm |
Acrylic painting on canvas, which seeks to constructively resolve several elements of tension within a square grid comprising 1 x 5 sub-squares: the contrast of colour in itself, the light-dark contrast – as well as the quantitative contrast. The composition arises from the varied arrangement of the sub-areas, which exist in a harmonious or contrastive-dynamic relationship of tension
hard edge, hard edge painting, geometric abstraction, post-painterly abstraction, colour field, colour-field painting, concrete art, Op Art, Neo Geo, minimalism, post-war, Bauhaus, De Stijl, Josef Albers, Richard Paul Lohse. Max Bill, Gerhard Richter, Piet Mondrian, modern art, modern art, acrylic painting, wall art, geometric
Year of creation 2022
ARTUS
I work with acrylic paints on canvas, and occasionally on painting surfaces coated with silk gauze.
In the German-speaking cultural sphere, my inspiration has been – and continues to be – the Bauhaus and Concrete Art;
in the Anglo-American world, this movement is known as ‘hard-edge painting’.
Terms such as ‘colour field’, ‘Op Art’ or ‘post-painterly abstraction’ also apply.
For me, Paul
Klee was the first to open my eyes to this movement – with his painting ‘Superschach…’.
Other key influences include:
, Johannes Itten, Anton Stankowski, Richard Paul Lohse, Josef Albers, Gerhard Richter, Max Bill, Kenneth Noland, Victor Vasarely and others.
Although I have been interested in art since the
age
of 17
, a guest semester at the Cologne Academy of Graphic Arts and Design, in the Department of Fine Art Painting, introduced me more thoroughly to the craft.
Professor Wewerka had me
work
under the motto ‘Copy Kandinsky until you’ve got him out of your head – and become free to
create
your own work’
, which actually worked…
But the real breakthrough only came during the Covid-19 lockdowns –
when, whilst working from home, I created the geometrically abstract 100x100 formats… which filled the flat with their intense presence – and demanded to be set free....
