Discussion of Lothar Rumold on the occasion of the exhibit in the artist house gallery in Karlsruhe:
Gerold Bursian paints with wax acrylic paint on wood plates which he has covered before with fine cotton material. The works come into being by painting over focal planes which are called coherence levels by the artist. There are essentially these coherence levels, you can recognize this by the pictures shown here easily from thick bars of dark lines. The linear connection is disturbed increasingly and broken open visually with the progressing of the process of painting. The fragments generally lead this fragmentation to island effects occasionally, connected with a color difference frequently, too then, but are like scraps or letters or sign fragments. Opposition concept couples seem to have come in creative coalitions in the spell of these picture rooms: playfulness with strictness, order with chaos, before formation with open setting. The one apparently doesn't exclude the other in Bursian`s world.
If Salvador Dali is right, then the time co-operative society of painting proves itself due to her reference to a certain cosmogony, that is a scientific or also mythical theory of the origin and the composition of the world, too. It was Gerold Bursian who has pointed out Dalis acceptance of such a connection to me.
Who but to be aware of painted stories of the world is ready, this one dives into a cosmos with not obviously determinable spatial and temporal conditions Bursian`s pictures in this meaning as world pictures on the other side of the bare illustration. While theoretical physics still is working on a "Quantum Theory of the Gravitation" as "Short History of the Time" writes to Steven Hawking in his therefore at the uniting of the theories over the mike and the macrocosm, Who did want to decide because micro or makro is to locate whether this cosmos, whether we have rather to slip in the role of the astrophysicist or rather into that one of the biochemist as observers?
Uncertainty of the room time coordinates is also called: we cannot know as constituents of a future or fragments of one whether the fragmentary things which spread Bursian`s picture rooms out been to be looked have. Going around me onto another associative slick ice field, or what: the mail apocalyptic fragments of last strings we take a look before that beginning at which the word was what it is called in the Gospel of Johannes into the aurochs letter soup if we see these dark sign fragments always returning or meet here, already, announced in front of this sent already immediately disastrous show down?
Like also in timeless conditions every so-called is also a so-called after this in front of this so that we would have do it with an a type's the time room coord and less world between or next to the worlds here possibly, a parallel universe around again one keyword from this to pick up a present nature scientific discourse, but into cyclical.In any case we have to do it with the parallel universe of the art in which the abolition of the contradiction into himself already indicated above is nothing unusual: a locateless room in timeless time, one someplace in this nowhere, one sometime in "not nowhere anywhere". This version of the pictures as regards content doesn't please whom may enjoy her as a free, if also not irregular game of the colors and forms. For a kosmogonische interpretation, after all, talks that Gerold Bursian points even to his lively interest in scientific world outlines as the intellectual background of his artistic work.
All rights of the pictures shown here with Gerold Bursian + VG Bild-Kunst. Without my approval the pictures neither electronically (e.g., Internet) nor in are allowed to the print media are published. Also the wide use of the pictures needs my authorisation. | GeroldBursian |