IN HIS ABSTRACT ARRANGEMENTS DEFINING A DISTINCTIVE AND CONTINUOUS ART PRACTICE, GERHARD RICHTER HAS PERSISTENTLY AND DECISIVELY PLASTERED, SO TO SPEAK, THE BURDEN AND WEIGHT OF HALF A CENTURY ONTO ABSTRACT WALLS. THE LAYERED SURFACE-TEXTURE SEEMS COMPRESSED WITH THIS EMOTIONALITY. THEREFORE, IT IS POSSIBLE TO DEFINE WARNINGS SEEPING INTO THE INTERVALS, THE ENTIRE ABSTRACT PLANE ENVISIONING A DYNAMIC DEPTH THAT HARASSES PERCEPTION, AS PERSONAL IMPRESSIONS REFERRING TO INDETERMINACY. EVIDENTLY, GERHARD RICHTER TAKES GREAT PLEASURE IN DRAGGING HIS PAINTINGS INTO A VOID SHAPED BY COINCIDENCES, SCRAPING OR SCRATCHING THEM UNTIL THEY ACQUIRE A PAINTING BELONGING AND IDENTITY.

abstraction as an experience of liberation

Toward the 2000s, these paintings, which carry an almost fictional universe, complete their development as the correspondence of a need for expression alongside undefined and blurred abstract constructs. They transform into visual language records regarding the disappearance experienced between layers. They gain meaning and value as a formulation experience or an experience of liberation that hides the traces of personal history.

Moreover, it is also possible to read this production, which stands close to the formal existence of painting and has been converted into an abstract position by becoming almost anonymized, through story connections that seem disconnected in places or have lost their depth. Therefore, the number of interpretations structured as different conceptual clusters, coded with emotional or reactive productions, through this gaze connected to periodic aesthetic perception, social and historical changes is not few. However, it would be more appropriate to define the abstract paintings produced with a transcendent formal will, moving through the image and representation problematic, as personalized mechanisms that cancel content connections. Because Richter always prefers to continue his art approach in a distanced contact, in a language-representation discussion, on an aesthetic plane that displaces meaning in places. Precisely for this reason, subjectless and abstract surfaces appearing on giant-sized canvases are perhaps best expressed and understood with an exaltation that best expresses this complex sensation.

In such arrangements defining a distinctive and continuous art practice, Richter has persistently and decisively plastered, so to speak, the burden and weight of half a century onto abstract walls. The layered surface-texture seems compressed with this emotionality. Therefore, it is possible to define warnings seeping into the intervals, the entire abstract plane envisioning a dynamic depth that harasses perception, as personal impressions referring to indeterminacy. Evidently, Gerhard Richter takes great pleasure in dragging his paintings into a void shaped by coincidences, scraping or scratching them until they acquire a painting belonging and identity.