Tromsø I and Tromsø II
Thoughts on ‚Tromsø‘ I and II
Both paintings strike us with their vertical format, showing high skies,
vast ocean, mountains, clouds, the falling night. The format encloses
the observer vertically, a multitude of layers opens vast spaces.
Breadth becomes depth. Another remarkable aspect being their reduced
palettes, both clear and subdued shades of blue, grey and green, to the
almost yellow. The space of cold colors is exhausted completely, without
any diminishment by neutralizing hues. Every shade holds its own through
all layers and depths.
On top of a base of ultramarine, a soundscape of hues is layered, like a
transparent crystalline structure, evoking a sense of distance and clear
Necessarily frame-less, these painted condensed experiences cannot be
contained inside an esthetic border; instead, they offer themselves
plainly as that which they are: an offer to a conversation, open, yet
Those letting themselves follow this invitation will quickly experience
what Paul Klee described as paths inside the image that guide the
beholder's eye. Those pathways not only allow for an esthetic reflection
but also resonate with the deeper aspects of our soul – without becoming
overly sentimental or tacky.
The perspective ambiguity among dimension, depth and horizontal shapes
The traditional landscape depiction still echos in these paintings,
their clear construction is apparent without relying on perspective to
create depth: here, the spatial relationships are not ``low in the
frame: close´´ and ``high in the frame: far´´ – the canvas is used in a
completely different way through the use of partially translucent color,
staggered layers, parallel strata.
The plane is being organized horizontally, in a way that allows the
stripes to transcend it, connecting the paintings to their surroundings.
Canvas and wall exchange roles – the wall becomes the space in front of
the painting, which, in turn, falls through past it, gaining spatial depth.
Dr. K. Keßler 2010