Stefan Gritsch

Galerie Friedrich

A broad, loosely constructed platform of raw lattice and boards stands chest high at the entrance to the gallery. On it are grouped many hand-sized pigment-objects—layered polychrome cloth rectangles; squares poured in strict geometric layers; massive shards of color attached with paint to small cumbersome lump-complexes—and seeing them at this angle affords a distanced overview of them without diminishing the sense of their physical presence. As one’s gaze moves along the lined-up or overlapping elements, it becomes increasingly clear that this large untitled installation, 1999, serves one purpose—that of exposing colored bodies to the gaze and touch.

Stefan Gritsch goes beyond using paint to cover a surface. He sees it as a form of matter, one that he has been subjecting to unusual procedures for years now. In most painting, acrylic obeys a tendency to spread, but in Gritsch’s hands it

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