Pictorial motifs with diaphanous planes form a central aspect of Günter Wintgens’s work. Their optical transparency, intuiting or understanding the partially concealed planes, plays with visitors’ curiosity. It allows them to recognize several pictorial planes at once. Hence, they perceive the amount of time that has passed from one stage of the creative process to the next, and are able to guess, to a certain extent, the history behind the creation of this picture. For the fragmented motifs, made up of countless, particle-like brushstrokes across a mono- or polychromatic ground, the passage of time is also an important aspect. Although it also applies to the process of creating the painting, it is mainly true of the element of instability—the apparent motion evoked by the painting’s shimmering texture, and often reinforced by its format, the tondo.
Also important is the aspect of communicating information. Each bit is legible by itself, but because the individual planes of information are assembled and layered on top of each other, visitors are offered a new, conceptual projection surface. Yet another aspect is clearly of a spiritual nature: the constantly recurring question about the real essence of things. Behind a veil both delicate and tear-resistant, the answer to this question stoutly resists comprehension. Text: Susanne Koheil I Translation: Allison Mosely
Mareike rot, 2012, Tempera on canvas, 66 x 43 cm
Boy 2, 2006, Watercolours on mulberrytree paper, 37,5 cm ø