Saturday, 5 January 2013
Work from his oeuvre.
“This theory is the basis of my interest in my work since 1989, when my first painting was on a glass plate. In the figures presented here are only seeing paintings on Plexiglas panels. On frosted Plexiglas panels in thin glazes is color coated to color light areas and compacted to the highest light intensity. The paint application is using commercially available foam rollers for a previously devised mathematical structure of the composition, which to me sets the surface structure of the painting. This compositional structure allows the flexibility to participate in the “color space” to work for artistic pleasure / painting (see drawing “score”). Painting remains until the end translucent and is thus intimately linked with the respective light conditions, so that any change of light, the painting changed dramatically in their color characteristics. the surface of my paintings is completely dull and without any trace of a painting process, so that the viewer a placement of the color field before the wall can not make. He sinks his eyes in a boundless, vibrant color light space. An emotional field that the viewer can analyze in its individual elements, but will be when looking at the painting again enthralled by the inexplicability of to seeing. Due to the close links with the light and the frosted transparent plastic backing plate of my painting, which over a short distance before wall is hung appear to the viewer a floating before the wall color field, seemingly without support, very light colored, with enormous luminosity and a steadily pulsating color energy. In reality, prior to such a painting you are an observer of a process, namely the action of light upon my painting and its constant change. Attempting a photographic reproduction of any such painting finished but the described process of the direct action of light on my image and captures her, so to speak the “soul”. These characteristics make a picture of my work as hard as the observer of the photographic reproduction only remains a blurred color field that eludes an optical explanation completely. Given these characteristics of my work, I have decided not reflect the work front and photocopying perfectly illuminate, because the work never the same and seem to be different every second. All work has been photographed in the studio under the prevailing daylight conditions.” – Thomas Deyle translated via Google.