Beate Slansky

About my work

In my paintings, the different layers of fogs of color and translucent inks suggest a constant movement, a fluctuation of emersion and disappearance, which is not entirely available. It is like a subtle drift that ropes in and crowds out at the same time. You can only catch a glimpse of the bottom of the painting, you’ll lose it in no time. There are traces which mislead. Light distinguishes itself in color and creates its own dimension. Depth arises on the surface: by the succession of moments, by the alteration of neighboring spots, by the movement of layers, shifts and mixtures of colors. It seems to be a monochromacity, after a certain time of contemplation it becomes polychromacity. Hologram or trompe l’oil? Both: painted illusion of depth by faked non-dimension.

Through this work process, the paintings get an undefined identity and they save their identity by constantly denying it. The paintings don’t have a beginning. They don’t stop somewhere either, they are continually present. Underneath one painting are lots of other paintings, none of which is first and even the lowest painting is a memory of an earlier one. They are constantly changing positions: as much as they repeat themselves through the fixed pigment on the canvas, as much do they renew themselves through every individually happening glance. There’s much in them that is lost – but even more which is covered and thus not yet lost, pictures maybe, which one tries to remember with growing doubt. You can also say, it is like the oblivion that is on the cusp of the no-more and the not-yet, the no-more of form and its re-appearance.

The rectangle of the painting is the uncommitted frame which enables unforseeable incidences. What is meant is an exercise for the contemplator’s sensitivity: Like an utopian map, the painting invites the viewer to go on a trip without prescribed routes. Maybe it will be an adventure. Possibly it will lead to shipwrecking.

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