Alturfahr 2021

Editor: We're looking at Gazmend Freitag's "Alturfahr," painted in 2021 with acrylic on canvas. The colours are so striking – that turquoise water especially grabs your attention. It's almost dreamlike. How would you interpret this work, focusing on its form and composition? Curator: The emphasis seems to reside within the interplay of horizontal and vertical planes. Note how the horizontal expanse of water is punctuated by the verticality of the lone tree. Freitag masterfully contrasts texture, from the impasto strokes of the verdant foliage to the smoother application across the water's surface. Observe, too, the strategic use of light, almost dissolving form and volume. Editor: It’s interesting that you point out the texture, and the horizontal versus vertical. Is that a common compositional technique? Curator: Indeed. Consider how this opposition engenders a subtle tension, preventing the work from lapsing into mere sentimentality. Are we meant to find solace or discord? The somewhat ambiguous answer propels us towards contemplation. The lack of clearly defined lines, especially where the water meets the land, adds to that sense of uncertainty, blurring boundaries and challenging fixed perspectives. Editor: I see what you mean about that tension. So, Freitag's use of colour and form prompts deeper thought. Curator: Precisely. One could posit the artwork as a formal exercise in color relations. The juxtaposition of greens, blues, and the neutral whites challenges the eye, while the texture provides an element of haptic involvement. Freitag forces the viewer to actively parse visual data, instead of passively absorbing information. Editor: It’s fascinating how much you can uncover by really looking at the formal elements. I will be practicing this in the museum. Curator: Indeed, art beckons to the receptive, art historical eye, and rewards meticulous analysis.