Untitled 1966

Here we have an undated painting by Konrad Lueg, made with, what looks like, household gloss paint. He’s built it up with repeated circular marks, like some kind of wild and vibrant wallpaper. It’s fascinating how the paint sits on the surface. The colors—those pinks, greens, and oranges—they don’t blend so much as jostle for attention, each little dab asserting its presence. I keep thinking about the hand that guided each stroke. There's something so immediate about those marks, a kind of joyful messiness. Look at the way the colors interact in the lower half of the painting, how these circles start to merge and create new tones and textures. I love that Lueg wasn't afraid to let the paint do its thing, to embrace the unexpected. It reminds me of Blinky Palermo’s playful approach to color and form, a willingness to experiment and push the boundaries of what painting can be. For Lueg, like Palermo, painting seems less about arriving at a fixed image and more about the process of discovery, that endless potential we find on the canvas.