I understand each of my paintings as an approach toward the 'ultimate painting'.
There isn't a single absolute picture, there are always variations, different aspects of the one, in series.
Over a period of ten years, I have explored the possibilities of an 'empty painting'. Nothing really to see on, but exactly enough so as to see this nothingness - or fullness. Something that exists - yet not fixed but moving. It is only to be defined by the viewer. Defined each moment anew as the moment that is - now. No story, no form, no message, no idea. I could continue in Ad Reinhard's spirit or in Mark Rothko's, or in Agnes Martin's. But neither do I want to create an absolute, objective 'clean' painting, nor a painting as a relative, subjective gesture.
My approach is to fix and overcome this dualism.
Translated by Axel Fussi
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