Abstract

Engaging with ideas of space and abstraction, Lothar Götz’s line drawings are built up through layers of juxtaposing colours.

Perhaps best known for his large-scale wall paintings and installations, Götz’s drawings lie at the centre of his practice.

Brought together in dense compositions on painted card and board, Götz’s thin pencil lines explore the impact of using varying colours and intensities on the work’s surface. Referencing and expanding upon the abstract language of Suprematism and the Bauhaus, the colours appear to oscillate in front of the viewer to immerse them in the surrounding space.

Alongside over 40 colour illustrations, an essay by Charles Darwent explores the range of influences on Götz's recent body of work.