Nature and impact of colour are being made accessible to me independent from their bond to the object, even if the colours of my paintings associate material qualities.
Thereby I am interested in the endless possibilities of letting a colour fade into another colour by mixing. The resulting spectral variegation consequently refuses the clash or opposing of colour areas - the contrast of colours - in favour of soft drifts. In doing so the eye looks for borders of a shape without finding them in between the image area and stays in constant movement. Through the transfer of my pictorial technique onto great image areas the concept of an orthogonal composition has evolved within which the visual process is performing in the area of conflict between colour and shape.
Colour oscillates between bright and dark. Continuous transitions abolish borders and produce spectral colour belts which are assembled without interspace.
At the interface a movement of the spacey impact occurs, the optical drawing back and forward. At the same time the colour belts seem to interfere with each other, whereupon it is the beholder who decides which colour belt he sees in the background and which in the foreground. It is a threedimensional play with interferences.