Opus 4 1951

Hans Hinterreiter made Opus 4, but when I look at it I feel like it could have been made anytime, anywhere, and by anyone! The matte colors and hard edges are almost soothing, like someone was really committed to filling in those polygons. When I look at this canvas, I want to look closely at how Hinterreiter played with transparency and opacity to create a subtle sense of depth. You can almost feel the texture of the paint, thin and carefully applied, building up these complex geometric structures. The way the translucent cubes overlap, creating those little moiré patterns, it's almost hypnotic. Like a window into another dimension, right? It reminds me a little of Bridget Riley, with its obsessive geometry, but it also reminds me of Sol Lewitt and his modular forms. You see the influence, but Hinterreiter’s all his own. It's like he's saying, "Here's the structure, but the feeling is up to you."