DIRK SALZ - DISSOLVING BOUNDARIES

My work is all at once about mutually dependent contradictions and crossing boundaries. Or rather,
eventually dissolving them.
For this, you may find multiple examples in my work, yet I’d like to point out especially one: Dissolving the boundaries of the tangible and the etheral. It’s fundamental, because it represents the duality of human perception. – And as my work is all about perception, it’s maybe the essential part of it.
I choose this title because it gains even more relevance in the presence oft he new line of work, the so called ‚multishapes‘.

Dirk Salz on his new series of works ‚multishapes‘

Former Director of the Landesmuseum in Bonn Dr. Gabriele Uelsberg once wrote:
‚In his art, Dirk Salz approaches colour painting much like a traditional painter,
even though he works with the mindset of a sculptor, completing his paintings as
designed volumes. Layer by layer, he develops his pictorial objects from the
materiality of various materials including pigments, resins, aluminium and wood.
His creations engage in a dialogue with viewers, intensifying their inner infinity,
colour and light.‘
It was precisely from this understanding that I re-examined the question of form.
In both the “deep dives” and “fadings” series, I had previously reduced the
external form of the work to the “primal” shapes of square/rectangle, circle, and
triangle. So perhaps it was only a matter of time before my ever-present longing
for a sensually tangible expression of my work, recognized form as an element

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alongside light and color – meaning I was REFLECTING SHAPE.
As always, driven by epistemological and aesthetic questions, I once again
plunged into a conceptually forced dialogue between non-color and color, which,
by the given form and the frequently present reflection, resists the actual
monochrome of color and presents itself in a constantly changing gradation.
This very ambiguity of visual and sensory perception, this persistant refused
revealing of the work itself, is the central topic of my work.
Or, as Immanuel Kant stated:
‚Even if we could bring this intuition of ours to the highest degree of distinctness
we would not thereby come any closer to the constitution of objects in
themselves. For in any case we would still completely cognize only our own way of
intuiting, i.e., our sensibility, and this always only under the conditions originally
depending on the subject, space and time; what the objects may be in themselves
would still never be known through the most enlightened cognition of their
appearance, which is alone given to us.‘