No. 0717010, 2010, acrylic on canvas, 100 x 100 x 3,5 cm

Phase II

The power of yellow

Would I be able to enhance the vitality this particular colour by introducing an additional shade of yellow? How ought the planes of this colour relate to one another such that the two yellow shades both “experience well-being” and are able to unfold their full power? What approach ought I to adopt so as to best preserve the harmony between the two shades of this colour? At what point, and under what conditions do we perceive the two colours beginning to rival one another, along with the consequent loss of their distinctive chromatic vitality?


Acrylic on canvas

No. 0812708, 2008, acrylic on canvas, 60 x 240 x 3,5 cm
No. 0220011, No. 0220111, No. 0220211, 2011, acrylic on canvas, each 80 x 80 x 3,5 cm
No. 0713008, No. 0713108, No. 0813208, acrylic on canvas, each 240 x 60 x 3,5 cm

Colour tonality: initially two shades of yellow (strong lemon yellow and warm orange yellow), followed some few years later by limpid yellow, initially accentuated, later also as a surface, occasionally black or white to enhance or assuage.

Experiments of partly matt, partly lustrous surfaces in interplay.

Materials: canvas, wood, metal, and later transparent plexiglass.


Acrylic on aluminum

No. 038602, No. 038702, No. 038802, No. 038902, No. 039002, No. 039102, 2002, acrylic on aluminum, each 50 x 50 x 3,5 cm
No. 0490202, No. 039302, No. 049402, 2002, acrylic on aluminum, each 200 x 33,3 x 3,5 cm

I favour a highly unstructured surface, such as canvass, metal, wood and acrylic glass. In my painting, the brushwork is barely visible so as not to disrupt the colour’s purity and aesthetic mood. A clear delineation of the colour surfaces, which nevertheless coalesce into harmonious concord lend the paintings a quality of serenity, of puissance and of lucidity.

No. 0616510, No. 0616810, 2010, acrylic on aluminum, each 50 x 50 x 3,5 cm
Stele, 1/3, 2/3, 3/3, No. 0214209, 2009, acrylic on aluminum, each 200 x 15 x 15 cm, baseplate 45 x 45 x 0,5 cm


Acrylic on MDF

No. 0411303, 2003, acrylic on wood, 50 x 50 x 3 cm No. 0411203, 2003, acrylic on wood, 50 x 50 x 3 cm
No. 0813308, 2008, acrylic on wood, 50 x 50 x 3 cm

The many years of working with only three bold and clear hues of yellow have shown me that this colour both opens up and enlarges perceptual spaces. This effect may also be sensed in the mind. Thus, in my eyes, yellow reflects freedom, tolerance, light and warmth.

No. 0111609, 2009, acrylic on wood, 66 x 39,5 x 3cm
No. 0113709, 2009, acrylic on wood, 66 x 39,5 x 3cm
Series, No. 0514709, No.0514809, No. 0514909, No. 0515009, 2009, acrylic on wood, each 30 x 30 x 3 cm

… that exemplary figure and architect together with his influential doctrines which were to later become especially legible in the pictorial world of Ina von Jan. Ortner, by contrast, drew on his studies at the Bauhaus and his acquaintance with Kandinsky and Mies van der Rohe. Hence, it was here that one of the most far-reaching lines in Concrete Art was foreordained. Initially recognisable were the stylistic devices, such as right-angled linear structures and their relationships to surfaces. And the colour blue took precedence over red and incidental yellow. This amounted to a good schooling in order with rules. …

Citated from Eugen Gomringer, 2010, »Concrete Art present with Ina von Jan«

Series, No. 0414309, No.0414409, No. 0414509, No. 0414609, 2009, acrylic on wood, each 30 x 30 x 3 cm
Series, No. 0615109, No.0615209, No. 0615309, No. 0615409, 2009, acrylic on wood, each 30 x 30 x 3 cm
Series, No. 0715509, No.0715609, No. 0715709, No. 0715809, 2009, acrylic on wood, each 30 x 30 x 3 cm

Acrylic glass

Acrylic on acrylic glass

In 2011, fascinated by acrylic glass as a material, I began applying colours with the brush to different levels of a preformed acrylic glass object I had designed. In this way, a depth effect began to emerge which, depending on viewpoint, assumed different forms.

Phase I
Acrylic paintings
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Phase III
Acrylic glass
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Phase IV
Space and area
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