Abstract

Mucciaccia Gallery is delighted to present Colours and Diamonds, a new body of work by Lothar Götz (1963, Günzburg). Conceived specifically for the gallery, this suite of paintings and drawings deepens the artist’s long-standing investigation into the relational dynamics of form and colour, distilling his language of geometric abstraction into a singular, potent motif: the diamond.
Each canvas adheres to an identical geometric composition, yet none of the paintings are alike. Through shifting palettes, Götz creates entirely new visual and emotional worlds—evoking a musical sensibility through subtle variations. The works stand independently while resonating in sequence, creating a relational rhythm across the gallery. Each colour, each shape becomes a visual chord—self- contained yet deeply responsive—activating not just the space within each composition, but also the dynamic possibilities that unfold between them.
The diamond is a form that recurs across time, geography, and cultures—ubiquitous, yet never exhausted. It surfaces in ancient textiles and contemporary logos, in sacred ornament as well as in functional design. Its geometry is both universal and adaptable. Long favoured in Bauhaus and Constructivist design, the diamond has been prized for its ability to structure space efficiently while remaining aesthetically dynamic. In Götz’s hands, this familiar form becomes something more: a framework of possibility. Through repetition and variation, he transforms the diamond into a vehicle for perceptual and emotional resonance.
The shape also carries with it a quiet wealth of associations, from the lozenges of the Bavarian flag— a subtle nod to Götz’s origins—to the sharp silhouettes of Alpine peaks, and even the crisp, almost two-dimensional light of southern Germany, where landscape often appears geometric by nature. These references remain abstracted, never illustrative, yet they imbue the work with a sense of memory—personal and cultural—shaped by place, architecture, and atmosphere.
In Colours and Diamonds, meaning does not emerge from representation, but from the relationships between colour, form, and space—the way a line tilts, a hue resonates, or a composition breathes against the wall. Despite the formal rigour of its geometry, there is a sense of play and lightness in Götz’s practice. His use of colour is intuitive, emotional—less a system than a feeling. In a moment saturated with speed and visual excess, Götz offers a distilled clarity that invites slowness, attention, and wonder. These are not paintings to decipher, but to inhabit—structures to dwell in, rhythms to experience. Through precise form and instinctive colour, Götz opens a space where abstraction becomes not a constraint, but a release: a quiet, joyful unfolding of perception.