Untitled

'The theme which they adumbrate is that of the window: one has the sense of locking through an aperture, but the pictures nevertheless lack the transparency which the theme and the medium, watercolour, would lead one to expect. They open up a set of pictorial spaces which are flooded and obscured by the dominant black; precisely the black which the artist uses to establish the cadrage of the picture and the division of the surface, through which these pictorial spaces are concretised…Here the watercolour becomes the ‘infinite sea’ of which Henri Michaux speaks, the ‘surface of dissolution’ in which the increasingly blurred representation of the world becomes the autonomous reality of the picture’
(M. Wechsler, ‘Surface and Depth: The Art of Günther Förg’, in Günther Förg, Painting/ Sculpture/ Installation, exh. cat., Newport Harbor Art Museum, Newport Beach, 1989, p. 26).