Studie zu Opus 92A 1972

Hans Hinterreiter made this Studie zu Opus 92A sometime during his lifetime using what looks like precise and careful painting. The surface is smooth, and the colors – purples, greens, and whites – are laid down in these twisting, turning bands that come together in the center. It's like a geometric whirlpool, or a candy wrapper, maybe even a groovy op-art record. The density of the paint gives each color a real presence; you can really see each section. And at the very center, the way everything connects is so precise, so deliberate. I think of artists like Hilma af Klint or Emma Kunz, all seeking similar visual forms to express spiritual and mathematical ideas. There's something about the confidence in the design, that speaks to a faith in the underlying structure of things. Ultimately though, it's this embrace of pure form and color that really draws me in, the sense that art can be a space for endless exploration and discovery.