Abstract

Lothar Götz Staircases
Staircases provide the veins of a building, immersing the visitor spatially in a different way to that of the traditional gallery space.
I am interested in how an artwork can be experienced by one’s whole body, the image changing constantly as one moves up or down the stairs. Lothar Götz
This catalogue brings together staircase commissions that Lothar Götz has undertaken from 1994 to 2017. Staircases represent a substantial aspect within Götz’s painting practice, which integrates site-specific wall-painting together with a studio practice devoted to painting and drawing. Götz is well known for his large- scale wall paintings and immersive architectural displays, characterised by the use of vividly coloured abstract geometrical forms, shapes and lines. We are delighted that Leeds Art Gallery can now celebrate the addition of the monumental painting Xanadu (2017), which spans the art historical to the contemporary present.
Götz’s distinctive wall paintings are instantly recognisable. He is one of the most interesting
artists living and working in Britain today. His bold abstract colourful geometric wall paintings entice and invite the viewer to step up to and inside his work, immersing one in his painting. As you walk through, you are part of architecture and painting at one and the same time. Xanadu, produced for Leeds Art Gallery’s re-opening serves to activate the original Victorian staircase, which constitutes the central artery of our historic 1888 building. Götz’s boldest staircase to date, uses colours derived from palettes across art history, from the classical to the contemporary and thus successfully links the ground floor galleries, which house our classical collection with the first floor light filled galleries.
This wall-painting has been made possible through the Art Fund Art Happens campaign and it is one of his most ambitious commissions to date.
We are delighted that Bazon Brock has contributed such an acutely perceptive text, which takes the reader on a journey through
history inviting us to explore intimately the richly detailed context of staircases throughout time and with great humour.
Our thanks go to Alex Rich, who has designed the publication with sensitivity and great insight into Götz’s work and to Domo Baal, for our collaboration on the production of the beautiful catalogue.
And, of course, I would like to thank Lothar Götz.
Sarah Brown Leeds Art Gallery