Susanne Jung - occurence of color

Can one see scents - can one paint sounds

Stripes - horizontal or vertical - arranged in subtle sequences of color that overlap and shift, constantly altering the parameters of perception.

Seemingly fixed color fields open up on both sides - underlying depth meets surface brightness and vice versa; horizontals and verticals, expansion and extension intersect.

Are these images transparent or translucent, should the gaze be directed inward or outward? The field of vision is a vibrating structure of distinct values and significances.

Alongside them are seemingly monochromatic color fields that blur into one another. Glazes layer over each other, covering and revealing what they conceal. Matte and shimmering, they illuminate the surface, drifting like colored veils.

Circular forms and fragments that seem to dissolve or condense in gentle gradations play with the light and shadow cast by the folded papers that serve as image carriers, navigating the gray areas between black and white. Differences and distinctions unite into a single form, which simultaneously dissolves them into singularities that stand clearly distinguishable side by side, before the boundaries begin to dissolve again into transitions and passages.

Despite their clear architectural structure, Susanne Jung's compositions are highly complex. They draw out the entire multifacetedness and contradictions of color from the material - surface and space, light and matter, separation and connection, break and transition. Warm and cold, radiant and self-contained, matte and glossy, transparent and opaque, color unfolds effortlessly and without any pretense a spectrum of infinite variants and variations that coexist both side by side and intertwined.

Saturated presence transforms into omnipresence - diffuse, open, and general. The gaze cannot maintain distance; rather, it is touched and carried away by the present into a space that hovers like a placeless place.

These images resonate in their entirety. They resemble touches that tremble with sensations, sensations that have no location but still fill the space - like sounds and scents that envelop and embrace, fleeting traces of memory that imprint themselves all the more enduringly.

Text: Karin Stempel, art historian