Gefäß

A vessel is a bounded form that creates an interior. It can receive, preserve, transform and release. The painting transfers this principle to perception and consciousness: the pictorial space appears as an inner system in which different stimuli converge, are connected and continually reorganised.

Against a deep blue and green ground, a pale turquoise form rises from the left. It appears both bodily and permeable. Red and dark colour fields condense at the centre, while yellow grids, scaffold-like structures and laddered lines connect several areas of the image. White coils run through the upper section; yellow star-shaped marks punctuate the network like individual impulses. The composition therefore resembles an active network more than a static container.

This structure can be related to processes of human perception. The brain does not reproduce sensory input unchanged: it selects, weights and connects it with existing experiences and memories. Attention brings certain signals to the foreground while others recede. Through neural plasticity, repeated experience also alters the structures through which later perceptions are processed. Perception therefore means not only receiving, but also organising and transforming.

These processes remain visibly open within the painting. The yellow grids offer a provisional order, yet colour fields, lines and loops repeatedly interrupt them. Some elements emerge clearly while others disappear into layers. No structure encloses the pictorial space completely; every element remains relational and can acquire a different significance through a new connection.

The canvas is the material support for pigment, line and gesture. The pictorial space becomes a vessel only through the relation between boundary and interior life. Gefäß therefore describes not an object but a dynamic model: a bounded space that is itself altered by what it receives and processes.