Lot 460 R

Katharina Grosse's compositions from the 1990s play with the interaction and effect of individual colour segments. The colour fields are applied with a brush and by overlapping them new colours develop in some areas and in others the support shimmers through. “In the second half of the 1990s, Grosse's painting became a simple practice avoiding compositional methods of applying paint to a support. It latched onto a history which opposed the sublimation of colour in abstract expressionism, held on to its factuality, and reached as far as Blinky Palermo's materialisation of painting in fabric pictures, objects, and mural painting. At the same time, she gave up her previous endeavours to let the differences between support and paint application disappear in a compact coloured mass. The paint was applied with differentiated brush strokes placed next to one another through which the ground shimmers through; fields of such brush strokes were put together in various colours; mixtures were created through the overlapping of different zones. The applied paint was understood as a film that lies on a support”. (Ulrich Loock Grenzen, in Beate Wismer (ed.), Katharina Grosse, Inside The Speaker, exhib.cat. Stiftung Museum Kunstpalast, Dusseldorf, 2015, p. 90).