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Painting with glaze is an art form that follows on from the experiments of the Surrealists in the 1930s, including the technique of painting without a brush, invented by Max Ernst, applied to ceramic glazes. The experiments retain the attraction of innovation, freshness and being a new acquisition by going beyond the boundaries of ceramic tradition.

Glaze Painting

With its three-dimensional effect, glaze painting is reminiscent of paint applied with the palette knife in the manner of van Gogh and renews the force of attraction of what-has-not-been-experienced. The powerful autonomy of the colours provides a special technical appeal like Henri Matisse's gouaches découpées.

Figurations

The sculptures treated with colour are a special case in this field because of their glazed formal components, which is entirely appropriate to ceramics.

Multimedia Figurations: Figurations from the conventional categories of porcelain, stoneware and earthenware which, through their own special impact as media, unite painting, drawing and sculpture in a way that is only possible in ceramics. In a world of the intellect, multi-media ceramics corresponds to interdisciplinary knowledge and research – an expression of intellectual globality that follows a preceding dissolution of boundaries.

Colour Field Painting in Glaze

Like in the work of the pioneers of colour field painting, Clyfford Still, Mark Rothko and Barnett Newman, the colour fields are aimed at the philosophical content of abstract representations. They are pictorial thought sequences, ideas wrapped in art. In their intense, homogenous colours, the glazes with their three-dimensional quality further develop the attractive possibilities discovered by Larry Poons, which lie in the materiality of colour and which provided new impetus in colour field painting.

Relief glaze painting

Sculptural forms on a background painted in coloured glaze correspond to the "shaped canvases" of the American painter Frank Stella, which were first made fun of by some critics, but then proved to be an approach that lent more weight to the image as a subject. The potential of ceramics is ideal for this art form through the unity of colour and sculptural form found there.

© 2010 - 2021 Gustav Weiß