Blaues Gefäß

In this work, the blue does not stand out merely as a choice of colour, but as an event that fills the space. The entire square surface is permeated by an intense, deeply saturated hue, which is organised into vertical bands, thereby forming a multi-layered, almost crystalline texture. What initially appears as a monochrome unity reveals, on closer inspection, a nuanced internal structure of denser areas, lighter patches and the finest of transitions.

The painterly execution is based on a fluid process in which heavily diluted acrylic pigments are poured in several successive layers onto the horizontally positioned canvas. The paint is left to the forces of gravity, without the process being left to mere chance. Rather, the specific dramatic structure of the vertical zones arises from a precise interplay of control and release. The direction, intensity and saturation of the runs are the result of conscious decisions, whilst their fine ramifications and fraying develop during the process itself.

The surface bears clear traces of this process: rivulets, delicate efflorescences, granular deposits and gentle transitions between light-permeable areas and darker concentrations. In some places, the blue seems almost to glow; in others, it retreats into deeper, shadowy areas. This creates a pictorial space that is not constructed illusionistically, but unfolds from the materiality of the paint itself.

Here, the blue functions as an atmospheric state, as a field of density and depth that embodies both tranquillity and inner movement. It evokes associations with water, night or the distance, without ever being pinned down to a specific motif. The vertical structure lends the painting a quiet grandeur; it brings to mind curtains, rain or tectonic formations – yet all this remains suggestion, not representation.

The reduction to monochrome brings about a condensation of perception. The work dispenses with representational references and directs the viewer’s gaze towards the relationship between light and pigment, between surface and space. It calls for a slower form of contemplation, in which the apparent unity dissolves into a multitude of subtle differences.

Thus, ‘Shadow Blue’ becomes a resonant space [sound space] of vision. The picture does not depict anything – it unfolds in the very act of perception itself. Between depth and surface, movement and stillness, a state of concentrated presence unfolds, which captivates the eye whilst simultaneously releasing it into the vastness.