NACKT- & ABGASFARBEN

Is the outer skin of a painting its most convincing feature? The materiality and physicality of colour stands in the foreground in many paintings in the Naked and Emission Colours exhibition.

Spatial seeing begins under one millimetre. Physical picture surfaces seem to make more substantial contact with the gaze than digitally equalized pictorial values. The real, physical application of pigment may function in some remote fashion like Velcro on the receptors on the human retina. In all the positions represented here, pigment as an emulsion which does not exclude elements of illusion from the picture, and evidences a treatment of Modernism that is casually revealed rather than face-lifted. Hard to say which is better. Botox-Modernism, if such a thing exists, is a less frequent occurrence here. The topmost layer of the picture is the bell-push to the physicality in the internal space of viewer-perception.

Excerpt Press Release – Gunter Reski