Painting from Scratch: Nora Kapfer
Looking from a distance at Untitled (2022), a compact portray on wood that does not appear to demonstrate anything but scribbles in white paint mixed with some traces of black, orange, and yellow, you could visualize Robert Ryman’s never ever-ending endgame of painting in all variants of white. But if you arrive nearer, this association proves to be inappropriate. Instead of Ryman’s allover color application in pure gestures, one discovers in the arbitrary squiggles and scribbles a bouquet of flowers, and, sprinkled above them like pollen, good particles of aluminum glitter that also do not rather suit into a neo-avant-garde-like position. Upon even closer inspection of the small image, the size of a sheet of paper, it is unveiled that the traces of fluorescent orange and yellow are not used to the floor but rather emerging from the floor of the portray, in the locations exactly where the scribbles erode …