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拍品專文
‘In the beginning I was a slave to the abstract language of expressionism, then it developed into a fascination, from graffiti down to artifcial fragments.’
– Daniel Richter
Electrified lines of neon red and orange pulsate powerfully across a cavernous expanse, where fuchsia sky meeting sapphire mountains in Daniel Richter’s Ich war nicht dabei. The cliffs liquify into streams of white and orange, a torrent of ice and lava, a cascade of dissolving colour. A small figure somersaults over the precipice, his toes just grazing the edge of the craggy face. Painted in blue, the tiny man, too, seems immaterial, as if his body was slowly vanishing. Although Richter’s paintings are often populated by people, he is uninterested in painting flesh; instead, he is concerned with capturing a person’s spirit ‘both in terms of the soul and the ideas of the other, the non-self’ (D. Richter in conversation with M. Maresch and A. Hofer’ in Daniel Richter, exh. cat., Essl Museum,
Klosterneuburg, 2009, n. p.). This visual disembodiment is inspired by the traces a person leaves behind which are picked up by infrared heat maps, CCTV footage, and night vision goggles. But Richter’s understanding moves beyond these technologies to consider paranoias of the mind and the way such hallucinations can distort reality, and these are worlds are fantasias of staggering colour. For the artist, the concern is not with truthful, corporeal representation, but rather to produce allegories that illuminate the world.
– Daniel Richter
Electrified lines of neon red and orange pulsate powerfully across a cavernous expanse, where fuchsia sky meeting sapphire mountains in Daniel Richter’s Ich war nicht dabei. The cliffs liquify into streams of white and orange, a torrent of ice and lava, a cascade of dissolving colour. A small figure somersaults over the precipice, his toes just grazing the edge of the craggy face. Painted in blue, the tiny man, too, seems immaterial, as if his body was slowly vanishing. Although Richter’s paintings are often populated by people, he is uninterested in painting flesh; instead, he is concerned with capturing a person’s spirit ‘both in terms of the soul and the ideas of the other, the non-self’ (D. Richter in conversation with M. Maresch and A. Hofer’ in Daniel Richter, exh. cat., Essl Museum,
Klosterneuburg, 2009, n. p.). This visual disembodiment is inspired by the traces a person leaves behind which are picked up by infrared heat maps, CCTV footage, and night vision goggles. But Richter’s understanding moves beyond these technologies to consider paranoias of the mind and the way such hallucinations can distort reality, and these are worlds are fantasias of staggering colour. For the artist, the concern is not with truthful, corporeal representation, but rather to produce allegories that illuminate the world.