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The Blue Light
The Blue Light »

Ulla Neigenfind - Esslingen, Germany

"When the spiritual and the material have bonded completely, when they have created a new third element out of this mutual bond, then the material appearance, finding beauty from inside to outside, must also become lasting and immortal, like the idea itself."

"Before Ulla begins a new painting she likes to linger, quietly contemplating the empty canvas before her. Taking her time to look, to listen and to perceive, she seems to be waiting for a call - the call of some color ready for action, for variation, for improvisation or composition or more. Is it the color, then, that first sets the mood of a painting? Is it the color that first excites the artist's inner resonance and brings it into pictorial expression?

A strong sense of form lies at the root of Ulla's compositions. Form provides steadiness in the swirl of emotions her colors unleash. Recurring geometric lines and planes convey a sense of calm and clarity to the pictures. And within the quasi-organic alternations between hiding and uncovering, veiling and unveiling, condensing and dissolving, the soul begins to speak. Tracings appear, scratched into the surface of overlapping spreads of pigments. Singing, calling, speaking, they touch the network of colored layers now gently, now more assertively.

The world of color is full of mystery. By covering and uncovering layer upon layer of color the artist highlights contrasting properties of matter, density and transparency. The viewer's attention is thereby directed toward archetypal gestures that lie at the very foundation of painting. Even when at times the elements of form in the picture are minimal, they never fail to bring order to the chaos. Rhythmic, periodic processes seem to pulsate through the paintings as though they participate in the life rhythms of the cosmos.

Ulla Neigenfind appears to enjoy herself thoroughly when she paints. For her, painting is a way to express herself creatively in the daily routine of unavoidable tasks and distractions. Yet, she never seems to take away the viewer's freedom of interpreting her pictures in his or her own way. Ulla's artistic language articulates a universe of pure color. We should read the minimal presence of form as a signal, a "go-ahead" for our own engagement with the cosmos. What, then, is Ulla's artistic intention? Perhaps just this: to create something out of nothing and to surprise us with it, without further explanation."

Monica Rudolph, Ph.D Art Historian (translation by Fabian Lochner)