Page 12 - Katalog Sigrid von Lintig 2020.indd

completely different illuminations of the water and that shadings
can be used for the zones of light and dark. In Sigrid von Lintig’s
pigmented light painting it is not impressionistic transience, but
rather a harmonious vitality in the painting process that is ob-
tained, beyond the imperceptible reality of split seconds that
photographs capture as complexity. Without aids such as spec-
tacles, microscopes and binoculars, a lot would remain blurred
and unknown, in this respect contemporary painting refers to
the reality of perception reflected by technical equipment, but
this aspect is enriched by the palpable joy of life within these
diving processes, and by the artist’s joy of painting contained in
the unobtrusive details. The paintings’ format plays a role here.
In a small format there are less possibilities for showing details.
Painting would have to be done with a single bristle brush. But,
as becomes clear, this is not about photo-realism or miniature
painting, but about a type of abstraction and the use of pigment
colours. The larger the painting, the stronger the difference bet-
ween close-up and long-distance effect. The appeal of the pain-
tings lies in the lure of the details that seduce the viewer to read
the pictures, to wander within them, to not consume them at
haste. They are eye-catchers, in which the artist has swum free
towards a rich, pure form of painting.

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