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to be formally reduced. But what happens in and with them is
the same in principle.
Here polar tension is generated starting with the reductionist
color scheme: objective
black-and-white scales opposed by energy-laden, emotional red.
Spaces become visible in the pictures, although in contrast
to real constructed spaces, these lack any clear borders. They
push their way beyond the square of the picture into space,
functioning as excerpts of a much larger whole.
These pictures impart the impression of
dramatic events; however, like everything about Heinz Moser's
contents, these events cannot be clearly identified. They
are highly ambivalent, but whether they mean collapse and
destruction or new growth and development from a state of
chaos does not matter in the end, as ultimately these opposites
are inseparably entwined.
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