Katharina Grosse

In some works Grosse uses stencils to create voids; in others, such as this one, she uses them to create overpopulated surfaces, excesses, or maximizations. Here we encounter an impenetrable cluster of intersubjective forms, some painted directly and some the result of stencils that masked the artist’s view during the painting process. Lush color fields and blotches of different sizes and shapes float, flow, and drip and are surprisingly messy. The layered and stenciled forms collide, as if fragments cut and pasted together. Through this association with collage, fragmentation, and disorientation, Grosse offsets the concept of painting as a device by which images control the way we perceive the world.