Oto Rimele: "I do not paint light, I create it." Part IV
As the climax of my artistic creation,I’d like to mention the emergence of a brand-new type of painting image. The genesis of my painting research brought me to the situation when it was necessary, owing to the specific character of the contents, to find a totally new type of formulation of the painting content.
Usually, he painter addresses the audience in the form of frontal address in which the color substance covers the frontal part of the painting. The need to express the painting content using color and its non-material presence led me to the re-formulation of the painting image.
In my wish to address the observer and to direct him towards the area of the non-material, I tried to create a painting language that would enable that. Thus, I had to leave the area of a direct formulation of the color composition on the surface of the frontal part of the painting and create conditions which would enable the activation of the non-material radiation of color. I was less and less interested in the frontal parts of the painting and focused my research on the possibilities offered by the marginal, lateral and dorsal parts of the painting image.
I put a lot of effort into the re-structuring of the painting image and gradually I managed to activate those parts of the painting image that was totally passive or somehow overlooked since the emergence and the first use of the table painting. By leaving the frontal part of the painting and by moving the content to the marginal and hidden parts of the painting image I have achieved the opening of new, additional expression possibilities.
The basic surface or the material carrier of the painting thus went through radical changes. This is how the wooden constructions were created that emphasise the form of the marginal parts of the material carrier of the painting. Such works of art are thus not only the carriers of the color substance but also enable the transfer into the non-material presentation of the color radiation. The observer thus no longer views the painted color material directly but sees the reflection of color and the generation (emergence) of color light. Similarly,to the phenomenon of stained glass windows – yet in a totally different way – the observer is faced with the color light itself and the presence of its activity in the interier.
When such a painting image is exposed to daily light, in accordance with the changing of light in nature and in exhibition space, the painting image and the intensity of the color radiance change too. My intention is to connect the painting image with its place in the “mental space” and thus enable the observer the “inner communication with the non-material”.