For the first time, this publication presents twelve large-format lead paintings by Günther Förg (each 240 x 160 cm) from 1989. The large, full-page reproductions, each measuring 31 x 21 cm, convey an immediate impression of the effect created by the originals that has hardly been achieved before. For, as Max Wechsler describes it in his text, "the special appeal of the lead paintings lies not least in their materiality and the unique materiality of this rather unusual painting surface. Added to this is the special colourfulness of the lead, which, shimmering between grey and blue, appears like a darkly threatening thunderstorm with its infinite valeurs of gloom and enters into a subtle interplay with the natural and artificial patinations. This organic-looking surface is now contrasted in the painterly presentation with the straightforward geometric figurations of the divisions. The subtle contrasts open up a field of tension against which the systematic compositional programmes and the more intuitively developed investigations of the colour relationships are brought to bear with the utmost concentration. This certainly also has something to do with the fact that the application of the colour on lead apparently proceeds almost without resistance, which in turn flatters Förg's notorious penchant for speed. One reason for this rapid gliding is, of course, the fact that this painting surface is absolutely non-absorbent and the colour matter is deposited on the surface, as it were." The second author of the volume, Britta Schröder, describes the overwhelming effect as a closed cosmos: "The colour does not push into the space, but sticks to the surface like a magnet. Some people fear that they will swallow parts of the painting as soon as they fixate on it for too long. Instead, you plunge into colour forms whose suction force absorbs you as if you were falling headfirst into a black hole."
Exhibition:
Bärbel Grässlin Gallery Frankfurt, 23/3 - 27/4/2013