| If the hard-edge rows of colors of Concrete Art from the 1960s and 1970s with their smooth, pure-colored surfaces without traces of the brush – as a search for non-hierarchical, egalitarian compositions of images – embody an expression aimed at anonymity and objectivity, the color field compositions of closer up are consciously emotional compressions of a moment in time:
an unhurried, consciously slowed down painting process on the fringe of an all-dominating media frenzy, and consequently, painterly-reflexive island worlds of visual sensibility. They are provocative havens of tranquility.
| A form of objective blurriness, in which the moment in time can penetrate and express itself, occurs in the transitional and fusion zones.
There are two parallel endeavors in Bettina Rave’s paintings, which continue to manifest themselves in her most recent works, “on the one hand, the ever more insistent force of the space to want to perceive the entire space as ‘image’ and on the other hand an impulse to move in more closely, to want to stop time, to pay homage to the sublime in a contemporary manner,” as she so sensitively describes them.
|Closer up embodies a counterpoint to her large-scale pixel spaces and their aleatory possibilities of dealing with space individually, but moving closer up, with all the detailedness intimated to us, equally strives for a space-consuming evolve-ment.
In these works, we experience painting as a plastic expression of emotional closeness.