Color Field Painting… ( Color Awareness Painting )
…became some sort of label but dispite that there are still artists who refer in their contemporary art work to this. So I´m one of these and will work on because there´s no alternative when searching for deeper meaning of colour. It seems all stories have been told in painting but when you´re not in telling stories while painting but more in “meditating” over what comes through you and what will last it´s obvious that there can´t be anything else but Color Field Painting. Color is the subject of my work with large painted expanses surrounding the viewer. Is this style meditative and does it come from the subconsciousness? Not really because while painting a much deeper awareness takes part of my mind and soul and becomes an essential part of the process and at least part of the created art…
What others say:
“As its name indicates, Color Field painting has three components—“color” and “field” and “painting”. In former times a main meaning included that the aim of rejecting illusions of depth and gestural brushwork. So that no “countryside” would emerge in ones mind. Color Field painters applied color that would often span the entire ground. As they intended the elimination of illusion of something that could remind us on something real, many Color Field Artists treated the ground as a single plane. Robert Atkins would say: “This emphasis on the flatness of the painting mirrored the formalist imperative that painting respect its two-dimensional nature rather than create an illusion of three-dimensionality.” And so they span a complete new meaning an what painting could be – no more illusion (landscape, room…) but more just itself.”
My color field painting has revolved in the 90s until today inspired by Mark Rothko (Marcus Rothkowitz; 09.25.1903 – 25.02.1970). This type of painting emerged from the abstract impressionism of Jackson Pollock, Jasper Johns or Helen Frankenthaler was brought to the championship by Mark Rothko in the course of his work. It stands beside Barnett Newman and Ad Reinhardt in a modern tradition not only in the color / surface treatment as well as in the extended reflection and intellectual penetration.
Also include the years of work by a Josef Albers (homage to the square) in this category, if a category is necessary at all. Since such an assignment is always committed after the fact through art history, which tends to give the works a certain rigor.
Nowadays color field painting doesn´t affect the “art-circles” – we find so many “not abstract” art that someone might think there wasn´t a art revolution in the early days of the 20th century. That´s not a german tendency as one can see on current art exhibitons all around the globe…