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Coles Marius Lüscher – Untitled Paintings at Bayshore Shopping Centre in Ottawa, ON
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The abstract paintings of Marius Lü scher present us with a peculiar » order that appeals to no prior knowledge,« as Dieter Schwarz, former30 director of the Kunst Museum Winterthur, writes in his accompanying essay. With heights ranging from 160 to 220 cm and a vertical format, the paintings reject any landscape-like impression and avoid allusions to the human figure, which traditionally dominated this format. » There is no anatomical internal structure to the picture plane, nor do the forms coalesce into ensembles that invite physical identification. Even the metaphor of architectural constructions does not apply.« Instead, the identity of the painted surface and the picture plane dissolves. The forms stand on a neutral white ground and are interacting with it – transparency is replaced by opulence. » From the resulting possibilities, which constitute not a stable but a variable set, Marius Lü scher’ s painting has evolved since 2010. The artist himself describes this work, against the backdrop of historical abstraction and post-war abstraction, as an › abstraction of abstraction.‹ Unlike Roy Lichtenstein, who sought to depict abstract painting as a historical fiction, Lü scher strives to remain on the side of non-representational painting, historicizing it while keeping it alive as a real working possibility.«
The abstract paintings of Marius Lü scher present us with a peculiar » order that appeals to no prior knowledge,« as Dieter Schwarz, former30 director of the Kunst Museum Winterthur, writes in his accompanying essay. With heights ranging from 160 to 220 cm and a vertical format, the paintings reject any landscape-like impression and avoid allusions to the human figure, which traditionally dominated this format. » There is no anatomical internal structure to the picture plane, nor do the forms coalesce into ensembles that invite physical identification. Even the metaphor of architectural constructions does not apply.« Instead, the identity of the painted surface and the picture plane dissolves. The forms stand on a neutral white ground and are interacting with it – transparency is replaced by opulence. » From the resulting possibilities, which constitute not a stable but a variable set, Marius Lü scher’ s painting has evolved since 2010. The artist himself describes this work, against the backdrop of historical abstraction and post-war abstraction, as an › abstraction of abstraction.‹ Unlike Roy Lichtenstein, who sought to depict abstract painting as a historical fiction, Lü scher strives to remain on the side of non-representational painting, historicizing it while keeping it alive as a real working possibility.«
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