Klaus Merkel

Galerie Frieder Keim

Ever since illusionistic pictorial space was transformed into the actual picture plane in the ’60s, painting has been preoccupied with its borders. It is no longer the interior space of the picture but its boundary, dividing the picture from or uniting it with reality, which is significant. After neo-expressive painting at the beginning of the ’80s tried to return illusionistic pictorial space to painting, “new abstractionism” brought painting back into the fray of this modern discourse. It took up the impetus of analytic painting, which had shown that painting could no longer be construed as an illusionistic, isolated image world but must be understood as an energy field. It appears as a structure made visible, and consequently it must be defined in terms of its boundaries: in a word, painting has become the frame.

The opulent, impasto works of Klaus Merkel seem to address themselves to

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