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拍品专文
In Katharina Grosse’s Untitled, 2003, vivid swathes of colour sweep across her monumentally sized canvas, creating an enticing complexity of tone, layering and depth. Billowing ribbons in hues of golden-yellow, deep purple, burnt orange, ebony and fluorescent green arc over one another like a tangled rainbow in dynamic disarray. The painting seems to lie in a vibrant state of flux: as the artist has explained, ‘Movements that have been painted first and last are both simultaneously present on the image field. There is no linear or casual hierarchy of activities in a painting … it requires a mind that is agile and ready to give up an adopted point of view at any moment for the next potential constellation or reading. Everything can become anything at any minute’ (K. Grosse, quoted in E. Wasik, ‘Katharina Grosse Sticks to her Guns’, Interview Magazine, November 2014).
The German artist has built up a prolific repertoire consisting of brightly coloured paintings on large canvasses, as well as on less traditional surfaces including sheets of aluminium, interior and exterior walls, ceilings, and floors, since the 1990s. Her abstract painterly style burgeons from a tradition of Colour Field Painting, Abstract Expressionism and German Art Informel, and her techniques draw influence from practices as diverse as Impressionism, graffiti, performance, process and installation art. In at times latent, at others more pressing ways, Grosse’s practice takes inspiration from artists as diverse as Helen Frankenthaler, Karl Otto Goetz, K. R. H. Sonderborg, Gerhard Richter, Robert Smithson and Pierre Bonnard: in responding to the art of the past, she paves the way for a fresh visual language. Grosse frequently uses alternative techniques and mediums to create her artworks, employing tools such as industrial spray-guns and spray-cans in order to investigate, challenge and stretch the limits of painting. In works such as the present, Grosse explores many of the central concerns of traditional painting – from light, colour and composition to texture and painterly treatment – in unconventional and bold new ways.
The German artist has built up a prolific repertoire consisting of brightly coloured paintings on large canvasses, as well as on less traditional surfaces including sheets of aluminium, interior and exterior walls, ceilings, and floors, since the 1990s. Her abstract painterly style burgeons from a tradition of Colour Field Painting, Abstract Expressionism and German Art Informel, and her techniques draw influence from practices as diverse as Impressionism, graffiti, performance, process and installation art. In at times latent, at others more pressing ways, Grosse’s practice takes inspiration from artists as diverse as Helen Frankenthaler, Karl Otto Goetz, K. R. H. Sonderborg, Gerhard Richter, Robert Smithson and Pierre Bonnard: in responding to the art of the past, she paves the way for a fresh visual language. Grosse frequently uses alternative techniques and mediums to create her artworks, employing tools such as industrial spray-guns and spray-cans in order to investigate, challenge and stretch the limits of painting. In works such as the present, Grosse explores many of the central concerns of traditional painting – from light, colour and composition to texture and painterly treatment – in unconventional and bold new ways.