Statement

With this project I have set myself the task of reducing paintings to colours, and to let colours lead the way, ways of abstracting colours as much as possible, reducing them to the impact they may have, i.e. turning colours into art. This type of painting is rooted in the desire to create colours in their context and their interrelation with each other. My colour compositions are an expression of the intuition generated by colours rather than the result of mathematical-geometrical considerations, as proclaimed by Concrete Art. I have always been fascinated by and searched for the mystery of colours, and the sentiments they convey. It is my aim to detect the essentials of colours, and to capture them in my paintings. These paintings convey a message, which goes beyond the colourful and formal sensation of paintings. It is the experience of tranquility, simplicity, meditative contemplation that these colour spaces convey. I have developed a particular acrylic needle technique which I use for these paintings, whereby the surfaces are solely generated by applying a 10 cm wide flat brush in a vertical direction. The colours are virtually applied with thin needles, whereby various coats of colour may overlap. In doing so, there is a high concentration of colours in the smallest of spaces. Among others, the appeal of these paintings lies in their precision. This type of colour application is an important and unique characteristic of my paintings.

The works by Friedhard Meyer derive their strength from the symbiosis of vitality and harmony. Fine strokes of colour cover the canvas in a staccato-like manner, releasing one colour while hiding another. The result is a dynamic rhythm, with colour being the main feature. Not only do the colours appear to be an artistic composition, but also a musical one. Just like tones and various sounds, each  stroke of colour strikes a visual as well as a musical chord. Friedhard Meyer does not resort to loud, stirring tones. He rather strives for concord and harmony. The colours of his works move and resonate at the same time. Initially, – as is common in Concrete Art – there is no relationship to real, representational depictions. Initially, Concrete Art does not endeavour anything. It does neither want to depict, nor abstract or lecture. It is only meant to bring the artist’s idea into being. In this context, it appears that Meyer’s spirit is revealed in his works, a spirit that is hardly tangible, and yet palpable. His works are only accountable to the volition and the idea of the artist. The works of Friedhard Meyer represent an unusual way of merging colours in peaceful harmony, without being languid or dull. Each colour resonates and merges with others like a melody. Friedhard Meyer’s technique also plays a key role in achieving this effect. When applying his so-called needle technique, a thin flat brush is placed on the canvas, with the result that the colours appear like needles, whereby needles are neither intended nor depicted. We can perceive the precise and deliberate manner in which colours are applied to the canvas. They appear like small cuts – without any connotation to violence. The meditative power of Friedhard Meyer’s works unfolds when we take time and devote our attention to them. Then we can see and hear the composition. Each of his paintings evokes a very special atmosphere and sentiment for us to indulge in. We will only recognise the nuances and precision of his works when we suppress everything else and fully concentrate on the underlying idea by the artist. Even though Concrete Art does not endeavour anything, this is in turn the very reason why it leads to new insights – sensually, emotionally and intellectually. The works by Friedhard Meyer therefore remind me of the happy union between heart and mind, put on canvas.

                                                                                                                                                                             Simon Oos

                                                                         Art Historian

© 2015 Friedhard Meyer

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