El animal que nos viene. Santa Cruz de Tenerife, Sala La Granja, 1992 / Andreas Schulze: Interieur. Hamburg, Collection Falckenberg; Düren, Leopold-Hoesch-Museum & Papiermuseum, 2010, ill. p. 119 and 199
To use an expression from the artist Andreas Schulze’s hometown Cologne, this sphere is quite a “Trumm”, existing within its painted space, that is reminiscent of a box, a container, or a stage. This reference is a recurring motif in his oeuvre, through which he engages, among other things, with the sculptural boxes of his fellow artist Donald Judd. The large-scale canvas is just enough to contain the sphere and the spirals that seem to grow out of it. Light and shadow play a formative role and allow for the colors of the walls and the floor to resonate in varying tones. The side of the sphere facing away from the light source contrasts almost black against the floor and the back wall. The central perspective initially provides viewers with a calming frame, which then is disrupted by the spirals protruding from the sphere, creating a sense of movement. These spirals cast no shadows, as if they are constantly in motion, dancing in the air. The large spirals in the foreground appear to have already left the painted space, shimmering in various shades of green, red, yellow, and blue, contrary to the initial impression of monochromatic colors. It feels lively, as if the spirals, once freed from the sphere, are joyfully celebrating.
Interpreting the works of Andreas Schulze is challenging—especially since he began painting his distinctive paintings in the early 1980s. His work is as unique as it is cheerful and the author can only agree with Niklas Maak, who considers Andreas Schulze's work to be “among the most interesting of his generation” (FAZ, April 30, 2023). AGT
El animal que nos viene. Santa Cruz de Tenerife, Sala La Granja, 1992 / Andreas Schulze: Interieur. Hamburg, Collection Falckenberg; Düren, Leopold-Hoesch-Museum & Papiermuseum, 2010, ill. p. 119 and 199
To use an expression from the artist Andreas Schulze’s hometown Cologne, this sphere is quite a “Trumm”, existing within its painted space, that is reminiscent of a box, a container, or a stage. This reference is a recurring motif in his oeuvre, through which he engages, among other things, with the sculptural boxes of his fellow artist Donald Judd. The large-scale canvas is just enough to contain the sphere and the spirals that seem to grow out of it. Light and shadow play a formative role and allow for the colors of the walls and the floor to resonate in varying tones. The side of the sphere facing away from the light source contrasts almost black against the floor and the back wall. The central perspective initially provides viewers with a calming frame, which then is disrupted by the spirals protruding from the sphere, creating a sense of movement. These spirals cast no shadows, as if they are constantly in motion, dancing in the air. The large spirals in the foreground appear to have already left the painted space, shimmering in various shades of green, red, yellow, and blue, contrary to the initial impression of monochromatic colors. It feels lively, as if the spirals, once freed from the sphere, are joyfully celebrating.
Interpreting the works of Andreas Schulze is challenging—especially since he began painting his distinctive paintings in the early 1980s. His work is as unique as it is cheerful and the author can only agree with Niklas Maak, who considers Andreas Schulze's work to be “among the most interesting of his generation” (FAZ, April 30, 2023). AGT
