7 November 1995 1995

This is Gerhard Richter’s ‘7 November 1995’. There's an oily sheen over turquoise and gold shapes—the act of painting almost suspended in time. It’s wild to imagine what it was like for Richter, maneuvering the paint, coaxing these strange forms into being. How much control did he exert, and how much did he relinquish? The gold almost floats above the darker teal. The paint application is so physical, you can almost feel the drag of the brush, the viscosity of the medium. Look at the way the paint runs, drips, and pools. It's not just about applying color, it's about manipulating the material itself. Texture, surface, color—these aren't just elements; they’re active participants in a conversation. Richter, like all painters, is in conversation with the history of art. Ultimately, painting is about embracing ambiguity, about understanding that there isn't one single way to see or interpret the world.