Dörte Lützel-Waltz and Margit Buß deliberately influence the flow of paint on the canvas.
The process of painting is an important part of the work of Dörte Lützel-Waltz and Margit Buß. But do not call these two informal painters. It is the dynamics of color that interests both painters.
The strength of color is best visible in the flow of paint. It is the starting point of the work of the Berlin painter Dörte Lützel-Waltz. She pours several layers of acrylic paint and shellac on a canvas she usually doesn’t prime. The colors run and mix, overlap and penetrate each other and are partly absorbed by the underlayer. The method evokes memories of Morris Louis, Helen Frankenthaler and Joan Mitchell. Yet Dörte’s work has an unmistakably unique signature.
In some places the paint flows are closed, in other places transparent. The eye seeks its way through the paint tracks, sometimes encounters a dense wall and suddenly finds an astonishing depth. The nice thing about this is that the artist knows exactly what she is doing. After a long period of research into the flowing qualities of liquid paint she has completely managed this process. Nothing is left to chance. Depending on the density and fluidity, Dörte Lützel-Waltz knows exactly how a paint trail will run.
After long research, Dörte Lützel-Waltz fully controls the flowing qualities of liquid paint
Yet the process of painting is not the focus of the oeuvre for this former neurologist and psychiatrist, but color. Color as primal force and energy carrier, as a discussion partner in the production process. The forms that originate are organic and are reminiscent of the plant world or water reflections. The latter is especially the case when the color flow slowly diminishes. Dörte Lützel-Waltz certainly does not shy away from the associations with nature. Many titles refer to nature or natural phenomena.
Margit Buß deliberately avoids the reference to the visible world. She always opts for a square format that evokes fewer memories of a landscape. The titles also give no direction. She carefully numbers her works. She works as an archivist, and that is exactly how she approaches the painting process. Each experiment is documented so that it can be reused later.
I let the paint flow first and then make it work for me (Margit Buß)
To the ground
Buß came up with water-soluble industrial paints through oil paint, acrylic and gouache. She gets the paintwork from the DIY store and mixes them with pigments. She puts the cloths on the floor and applies different layers over each other. ‘I let the paint flow first and then let it work for me.’ What once arose from coincidence can be repeated afterwards.
Buß is not only concerned with the paint flow, but also with the penetration of the layers. Wet in wet penetration of the layers is easier to accomplish. Acrylic paint is a living material for this artist. Wet, damp or semi-dry, the material is predictable and taxable. Nevertheless, it may happen that when the paint is dry, layers from the depth will come up. In which case calculation and chance work together perfectly.