The title of this series is aimed at the question of perceptual proximity and distance and consequently questions the relationship of a visual object to the viewer. A blurring sensation consistent with adjusting a lens is also a question of perceptual attitude that moves an object in or out of focus.
A roaming view leaves vague traces of a brief encounter in memory. closer up demands more intense looking, moving in – moving out – meditating on sensuous colors and rational image analysis.
Color fields are equal entities in closer up, which do not confrontationally contrast with one another as hard-edge elements that have to assert themselves as equal quantities, but are balanced as unequal individual components. Complementary colors enter into a cooperative dialogue.
We experience brightness as an imaginary pushing back of color appearances on the visual stage.
| As if breaking through rigid rules of constructive concepts, we experience the all-round cropping of the color fields, as if parts of the image were withdrawn from us. This detail quality relativizes the two central color fields in their formal self-evidence, and by the same token the self-evidence of the entire image.
We have to imagine an ‘in front of it’, ‘next to it’ and ‘behind it’; the image as a focus of the here and now, simultaneous, but the entire connection expansive. A feeling of the heaviness of time becomes perceptible in these paintings.
The soft transitions and fusion zones, which result from an intensive painterly approach of adjacent color fields, metaphorically create a consciousness for other realities of life: Border zones of contrasting languages, but also dialectal colorings or approaches of different individuals in a long-term relationship. The deepening of these soft assimilation zones wakes ideas of tolerance and placidity in me, acceptance of the other, instead of exclusion or refraint.