The paintings of Dirk Salz lure the viewer closer to them with their unique aura. What is hidden beneath the translucent layers and the vibrating colour transitions, raises questions about art theory, visual perception and the viewer's very personal relationship to art.
Translucent colour surfaces layered on top of each other create an enigmatic depth in the works of Dirk Salz. If you move back and forth in front of them, draw nearer or step away, new elements are revealed while others become hidden again. The viewer is never granted a look at the whole picture and the question of the reality of the image always remains unanswered. The top layer of some of the works present a matte surface, which creates a feeling of blurriness that suggests that beneath the paintings surface lies another hidden composition. The colour fields become hazy and through the nebulous depth effect a strangely meditative feeling of vibration arises, in which one wants to lose oneself.
In other works, the final layer is highly glossy, even reflective. Again with this technique, the layered composition cannot be completely deciphered by the viewer, because the mirroring on the surface always reflects the surroundings as well as the viewer himself, as if one wants to look at the bottom of a lake and is prevented from doing so by the reflection of the water. This contrast between repelling glaze and absorbing depth creates a tension that is impossible to escape from. One would like to grasp all secrets from its depth, but is always thrown back on oneself by the reflection. These unavoidable reflections are an integral and essential part of Salz’ painting and belong to the work. The reality of 'actual' image inside the work is therefore constantly changing, deriving in a shift from a single and static reality into multiple or dynamic realities.
The drawings of Dirk Salz present themselves as a separate group of works. Countless lines are repetitively lined up in parallel, under and next to each other. These lines are drawn sometimes closer and sometimes further apart, and show irregularities or gaps at varying intervals. Thus, each line is unique and differs minimally from its neighbours. If one's gaze wanders over the sequence of the pencil traces, the progressive change of the lines can be observed as a stroboscopic movement, making temporality perceptible.
Depth and surface, dynamics and statics, space and time - with these contrasts, Dirk Salz challenges the viewer's perception and lets them dive into a world that seems both familiar and yet so different.
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