In the art of Sol LeWitt, the idea determines the form. In the conception process, grids, sequences, and variations of specific forms are developed. Each individual depiction of these forms serves as an example of the abundance of possibilities and thus stands as a symbol for the whole. What emerges in this way springs solely from the artist’s imagination and manifests as pure beauty in the eye and mind of the viewer. This beauty, shaped by the purity of will and thereby creating a sense of intimacy and closeness, adds an emotional dimension to the intellectual sphere of his art.
Works on paper, which have played an important role in LeWitt’s oeuvre from early on, take on a dual significance here. On the one hand, he first records the idea as a drawn sketch for a sculpture or a "Wall Drawing," which he himself does not execute.
On the other hand, he creates autonomous images that are complete in themselves and do not need to be transferred into another medium. Thus, each of them, through the combination of intellectual complexity and sensual immediacy, speaks directly to the viewer. At the same time, they all provide insight into LeWitt’s fundamental artistic premises.
Among the latter are the gouaches he began producing in the 1990s. In these, LeWitt turns away from the rule-based, monochromatic, geometric forms of his "Structures" paintings from the 1960s and 1970s. Instead, he expands his visual vocabulary to include multifaceted forms, heightened spatial depth, isometric projections, and complex harmonies of colour. As seen in the unique work presented here, "Cube (B)" from 1994, he subtly balances with his fluid brushstroke between structural restraint and extreme dynamism.
“ Obviously a drawing of a person is not a real person, but a drawing of a line is a real line. „