Blaues Gefäß II
| Edition | Original Art |
|---|---|
| Sujet | Other |
| Technique | Painting |
| Height | 40 cm |
| Width | 40 cm |
| Length/Depth | 3 cm |
Acrylic on canvas
40 × 40 cm
This work condenses the experience of the colour blue within a very confined space. The square surface is entirely permeated by a deep, saturated hue, which modulates in gentle vertical transitions. Between darker concentrations and light-infused sections, a subtle pulsation emerges that subverts the apparent unity of the monochrome.
The painterly approach is based on a fluid process. Highly diluted acrylic paint is poured in several successive layers onto the horizontally positioned canvas and then left to the effects of gravity. It is in this interplay of control and surrender that the characteristic structure emerges: vertical streaks, fine tendrils, soft transitions and, in places, dense, almost velvety deposits. The process is neither purely random nor entirely controlled; it unfolds within a productive tension between intention and contingency.
The surface bears traces of this temporal unfolding. Delicate veils settle over darker areas; individual rivulets lose themselves in the background, whilst others coalesce into shadowy lines. The painting does not appear constructed, but rather as though it has grown – as if the paint itself had organised itself in a slow, sedimentary process.
Despite its minimalist approach, the work creates a remarkable sense of spatial depth. The blue does not open up an illusionistic space, but an atmospheric one. It unfolds a quiet, magnetic pull that draws the gaze into the surface without anchoring it to a specific motif. What becomes visible is less an object than a state.
In the smaller format, this concentration gains in intensity. The 40 × 40 cm canvas focuses the viewer’s perception and makes every nuance, every minute shift in saturation, tangible. The viewer stands not before an expansive field, but before a compact presence that demands proximity and invites contemplative immersion.
The result is a painting that draws its power from its simplicity. It is not a representation, but a space for experience – a silent dialogue between pigment and light, between movement and stillness, between material weight and immaterial depth.
Konstantin Lischkoff-Knecht
Mr Knecht studied Fine Art at the Academy of Fine Arts in Munich from 2012 to 2020, under Günther Förg and Jorinde Voigt.
Knecht also took part in Anne Imhof’s project class and engaged in lively exchanges with various lecturers and students at the Academy.
Artist Statement
My artistic journey is deeply rooted in Abstract Expressionism, a style characterised by spontaneous, emotional and unbridled forms of expression. The works of pioneers such as Mark Rothko and Willem de Kooning, as well as artists like Cy Twombly and Georg Baselitz, have significantly shaped my understanding and appreciation of the raw, immediate power of colour and form.
In my paintings, I strive to explore the boundaries of visual language and to convey the emotions and thoughts that move me onto the canvas. Abstract Expressionism offers me the freedom to express myself beyond traditional forms and conventions. This style allows me to experiment with colours, textures and compositions to create a deep and often intuitive resonance.
For me, every canvas is a slaughtering block upon which I come to terms with inner conflicts, feelings and thoughts. The movement of the brush, the flow of paint and the bold gestures reflect the intensity and spontaneity that lie at the heart of my work. The factor of time plays a very intimate role in the creative process: For me, the flow of paint and the resulting emergence of the image represent the passing of the states of my inner life as they are immediately experienced. This process is ultimately concealed from the viewer – the viewer is presented only with the outcome of my process. Through this unfiltered form of artistic expression, I strive to draw viewers into a world of emotion that is as subjective and multi-layered as human experience itself.
Abstract Expressionism has provided me not only with a stylistic framework, but also with a philosophical foundation. It reminds me that art should not merely be viewed, but experienced – it should create a direct and often personal connection between the work and the viewer.
Exhibitions (selection):
2015 Polish Institute Platan / Latarka Gallery (Budapest)
2015 Salon Kennedy (Frankfurt)
2015 Kunstverein Wiesbaden (Wiesbaden)
2016 Catholic Academy Munich (Munich)
2017 Lothringer 13 (Munich)
2017 Art Homes (Munich)
2018 Kunstarkaden (Munich)
2018 Haus 10 (Fürstenfeldbruck)
2023 Kunstarkaden (Munich)
2024 Kunstpavillon (Munich)
