Notes on Niko Sturm;
one who paints

Color, which can be directly used, is delivered in tubes, cans and bottles; colored pencils lend themselves to use, and special mixed materials broaden the possibilities. On-screen or in the lab everything can be dyed or re-dyed according to will.

The surface, may it be smooth, rough or in anyway curved, could be made out of paper, canvas, wood or anything else. To put paint onto surfaces requires action. Something must move. This movement, the way from here to there, is a crucial phase. No one can exactly know what is actually happening there. Thinking (what is it really?), sensations (which ones?), and feelings (naturally) blend themselves with chance. The imagined immediately gets different nuances. Apparent failure could possibly raise the quality. Corrections can ruin a lot. Still visible undercoats remind of the production process. Although everything remains on the surface, the suggestion of depth, of manufactured space, develops immediately. Many things go quickly. Then again, pauses, a hesitation, the new gaze are required.

Colors are substances with qualities: black, white, red, green, blue, yellow, innumerable mixed tones. Is Black the night, the nothing, a color; or White something beyond light? Such descriptions are purely conventional, with the respective qualities much of this gets really (really?) recognizable. Only make-shift describable colors demonstrate the limits of language. Their tone connects them with music. Without intervals music would have no structure; it does not need to be representational. The unspoken, that is: the subtext, is often also the decisive in text, as the tone of voice.

Out of 2003 strokes, including blanks, thus becoming concrete movement, these remarks arrange themselves together until the period at the end. For colors, 2003 should be a good omen (2+0+0+3=5 / color has 5 letters).