LANDSCAPE

At first sight it is an explosion of color. Further analysis shows that acrylic paint is building shapes of sharp limits that fly over on other equally accurate. Transparencies and occlusions guarantee this geometric order and detailed its accuracy. Their forms however constitute a real disorder because they comprise a powerful swirl that move from the bottom to the surface and from the center scatter with force fragments toward the periphery of the canvas. It is a careful paint exercise that resembles certain German authors.

Some phenomenologists, perhaps following the ideas of Vidal de la Blache about the dialectic between the territory (always in continuous transformation) and the landscape (that would be the fixed sight of a moment of such a process of change, a snapshot), considered that the landscape painting always begins with the confusion which produce shrubs and trees, lights and water, herbs and rocks, this is the vigor and force of nature. Then the painter must decide: he can separate from nature and bring it in a distanced mode to the (with what might not build but a scenography) or remain within the disorder and paint his own relationship with it. Perhaps this swirl of von Gehr alludes to this second option of the landscape painting, perhaps the cared forms sublimate colors and lights, while the outburst is a transcript of the dynamism of nature. If so, one would see plot – fragment as a reworking of another traditional genre: the landscape.

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