Katja Ebert-Krüdener (Eminusk)

Giessen, Germany

This is not a statement.

I experiment with color and paint in order to experience color and paint.

I’m interested in color’s physical nature as well as in its emotional potential.

For me the action of painting is a meditative and contemplative process.

It allows me—at least in my best moments—to proceed beyond the realm of empirical reality to a realm of “pure potential”—as I would like to call it. This reveals to me a profound and fundamental truth which cannot be put into words.

I strongly believe that every creation longing for sustainability and duration must be composed within a certain set of basic rules.

In my work I use grids consisting of triangles, rectangles or stripes to provide a platform (and also an accommodation) that allows color to unfold a maximum energy and vividness, which will percolate through the lattice as a whole. Occasionally the brushstroke might burst open the framework, seeking its own potential and autonomy.

My goal is to create a vibrating presence of color.

In 1914 Paul Klee jotted in his diary:

“Color has got me. I no longer need to chase after it. It has got me forever. I know it. That is the meaning of this happy hour. Color and I are one. I am a painter.” (1)

One hundred years later these words still mean a lot to me. And I can’t imagine that color will ever lose its grip on me.

(1)  “Die Farbe hat mich. Ich brauche nicht nach ihr zu haschen. Sie hat mich für immer, ich weiss das. Das ist der glücklichen Stunde Sinn: ich und die Farbe sind eins. Ich bin Maler.” From:  Die Tunisreise  Klee  Macke  Moilliet, Hrsg. E-G Güse, Verlag Gerd Hatje, Stuttgart 1982, p.52

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