Claus Brunsmann uses oils to paint large, abstract canvases with dayglo colors. He refers back to a conception of history that is a legacy of German idealism, and therefor of ist Romantic aesthetic, according to wich the artist reveals interior truths, and unexpected perspective an cognitive modes, to the world. The process of ‚revelation’ is manifest in the layers of the painting, wich assumes the character of the overlapping patches and thus also of memory at the same time erased and unveiled by the appearance and disappearance of color. The nature of the self and of things becomes the principal field on wich the painting itself insists: the observer is called upon to perform the same journey indicated and practised by the artist, penetrating gradually into the color systems of the painting and beeing gradually sucked into it: first of all he is strucke by the most superficial layers, then he perceives the less evident ones, and so on, through a way of looking that must develop in time and therefore an attitude that is both contemplative and active. The artist thus intends to provide an extremely synthetic position eith regards to history, in full agreement with the premise of Romantic idealism: history as a temporal development in wich the spectator is also he who experiences it and helps to build it.

Angela Vettese / MEISTERSCHULE