Actually, the motive of my painting is the color itself. Only as painting is color actually.
The colors of the juxtaposed two parts of the picture are built up in a painterly way and allow subtle intermediate tones and nuances to shine through. The picture supports deviate minimally from a conventional, i.e. rectangularly cut picture format. The calculated constructions of the picture supports heighten the tension between the colors. On the one hand, they produce the light- and space-related effect of the color surfaces. And on the other hand, they are also the cause of the fact that no assessable proportions and localizations of the two partial surfaces can be found without doubt when looking at them. Instead, they appear as ambivalent and consumed color surfaces in space, and their color and spatial effects cannot be definitively fixed.
Seen in this way, the expectation of a balanced pictorial composition ultimately remains unfulfilled. Instead, in the current counterpart, the viewer's own expectant search for a successful balance, i.e. the question of a completed harmony, becomes relevant.