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Ohne Titel (Bleibild) (Untitled – Lead Painting), 1989
Günther Förg (Füssen, Germany, 1952) uses a variety of mediums—from sculpture and bas-relief to photography and painting—in order to construct a dialogue between a work and the space that surrounds it. Beginning with his early “Bilder,” oil paintings on aluminum panels, the artist has directed his interest to the relationship between the painted surface and the space in which it is located. A constant search for the absolute, toward a possible transcendence of the material nature of the support, in which it attains the lightness of the occupied space, is evident in the use of a metal surface, which, instead of conveying color, and, because of its intrinsic properties, reflects and enriches the color with various shadings and suggestions.
Förg’s use of painting, which comes in part from the careful choice of the material nature of the support, recalls the great tradition of modern art, while the broad monochrome applications evoke above all paintings by Robert Ryman.
