Omen 1959

Friedel Dzubas made this painting called 'Omen' with big, loose strokes, mostly in a palette of blues, grays, and blacks. I can almost imagine him, brush in hand, diving into the canvas, letting the colors swirl and blend, pushing and pulling at the surface. You know, there's something incredibly gutsy about leaving so much open to chance. Look at the way the colors bleed into one another, creating these hazy, undefined forms. It's like he's capturing a fleeting moment, a feeling or sensation that's just out of reach. The big blue area at the top seems to be heavy, maybe even a little ominous, which connects with the title 'Omen', right? But then there are these lighter, more delicate touches that almost seem to lift the painting up. Dzubas obviously knew his way around color, taking cues from painters like Helen Frankenthaler, and Morris Louis, who were all trying to release color from the burden of form. It's the kind of painting that keeps you guessing, where meaning isn't fixed but emerges through your own experience of looking. And that, to me, is what makes painting so endlessly fascinating.