Colorful veils of color in varying densities float across the unfilled expanses of Günther Förg’s Untitled. Painted in 2010, the present work is emblematic of the artist’s late work, completed in the final year of his celebrated career. While an elegant and experimental departure from the structured constructions of his earlier color blocks, Untitled is comprised of the same gestural brushstrokes and loose scrawls of pigment that are characteristic of Förg’s trademark painterly style. In Untitled, Förg masterfully employs negative space to unify and establish harmonies between the disparate passages of color, imbuing the work with a graceful atmospheric lightness.
Though Förg experimented with the behavior of color throughout his career, later works belonging to his Spot Paintings series and those that followed, such as Untitled, examine color by freeing it from the confinements of line and definite shape. By eliminating edges and refusing to determine boundaries within the painting, Förg frees the colors to interact and influence one another, intuitively positioning each form by hue rather than allowing its placement to be dictated by spatial boundaries imposed by line. Untitled furthers Förg’s lifelong test of the capabilities of color and form as delicately rendered fields of pigment hover in relation to one another and to the teeming breadth of negative space.
While an archetypal example of a pioneering artist’s most endeavoring interrogations of painting, Untitled gleefully engages with the legacies of Hard-edge painting and modernist color theory. Förg recontextualizes formalist concerns belonging to the annals of modernism, successfully reimagining the spatial relationships of color in a way that is undeniably contemporary. Untitled demonstrates the artist’s unique ability to create abstract dialogues between the carefully arranged forms of his painting, allowing each color to take on a life of its own