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After a return to integrating linear ornaments I moved towards a more powerful colour-based impact. The lines, ordered following tried-and-tested systems, were becoming wider and wider. At the same time I was enlarging the painting format up to five metres in length concentrating on the shape and colour composition. I paid more attention to the colour surfaces than ever before – not just the specific colour of each tone and their harmonies but the rhythm of grading their luminosity. Red, most often applied straight from the “tube”, was used as the starting point while other colours were prepared, by complicated mixing, to match. Equal attention was given to the way the colours were to be layered – which on top, which underneath.
I eschewed building a deep space front-to-back, hoping to keep them together as much as possible on the painting’s surface. Raw acrylic paint was applied in multiple glaze layers before it finally received a coat of varnish. Both were necessary to achieve luminous and deep colours. With the extra large format of the paintings, conspicuous colours and ornamental lines forming structures I had to address the connection with the architectural spaces I planned to exhibit them in. By their shape and colours the paintings were clearly in a complementary relationship with the orthogonal, colourless architecture of the galleries and the colours of the material making up the space in which one of the paintings is currently on display. At that time I made a surprising discovery. Large paintings with luminous colours are ill-suited to large spaces where the viewer may remain at too great a distance and not come close enough. On the contrary, they are best served by smaller spaces which they completely fill up with their radiating positive energy and pull the viewer into their field of attraction. Unfortunately, it is difficult and misleading to try and reproduce such paintings as, while one can clearly see what they look like, the overwhelming sensory impression is untransferable.
2000 – 2004