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).