home

essays

contact

rainer fuchs (museum of modern art, vienna)

as precise but irritating images, makra´s pictures and assemblages reflect an order of time and space which will elude the beholder at the very moment of taking possession - as perceptible symbolizations of abstract dimensions they represent the structure of the universe and its beauty which lies hidden within the shifts of these dimensions.

step by step the artist is exploring this beauty which will - fluctuating just as
space in time - not linger but rather try to extricate itself from any attempt of seizure.

to catch the image of illusion, shapes on the one hand may become dynamic, slide out of order or fall into lines of objects in which the process of creating spaced manifests itself. on the other hand, time seeming to have come to a standstill quasi coagulates into shapes which, as single “fields”
consolidate again into an integral whole.

the analysis of space is followed by a synthesis of images, the fusion of moments in the flow of motion corresponds to the nexus of plane and space
with reality which does not only include the work of art but also the beholder.

just as the reflection maliciously absorbs and outdoes the reality of the original, in the diptychs (couples) the uniqueness of the shape is stabilized
in the harmony of a pictorial cosmos the parts of which contrapuntally oscillate and mirror themselves.

accents by means of shapes and colours - mostly at the margins - sparingly
structure the picture areas and disguise the boundaries. they function as
connectors between lines and planes, planes and space which point to the
polarity of fullness and emptiness, of existence and non-existence.

the dialects of these contradictions and the oneness of contrasts are drawn into the picture and put under an order which playfully evades itself in order to approach the seriousness of the absolute. fleetingness is made perceivable
by means of colour which envelops the underlyingstructure and transforms it
into a coloured body. monochromically vibrating colour on the one hand
neutralizes the compactness of the planes but on the other hand constitutes
their transparency as well as their physicalness.

thus plates and cubes protrude into space; freed from colour and matter, they recede as graphical phantoms back into nothingness.
In makra`s work systematic evolution of shapes is combined with a subjective
theory of combinations which engrave the traces of emotional conditions
into the geometrical logic.

the presence of calligraphic signs and the subtle poetry of colours break the
anonymity of the constructive element and transform it into painting which by
means of breaking and shifting, doubling and fictitious unexpectedly undertakes shifts of accents. fields of tension in which the beauty of things
is simultaneously inflamed and endangered are built up. shapes crystallize
soundlessly and are resplendent in the silence of space. as it is falling out of
order the universe pauses for a second and - having vanished from sigh -
continues to live on.

1986
1988
essay I rainer fuchs
fields of colour - spaces of time