Laszlo Otto

... Otto's paintings work with meaning, but they are not symbolic in the sense of a language of symbols, which may be decoded. They rather operate with an intuitively understood “basic symbolism”, the contrasting between above and below, inside and outside., light and dark, vertical and horizontal, square and circle, the encapsulation of forms ant their dissolution, unit and multitude. Outof these simple oppositions, huge echo chambers for associations come about. These pictures do not make years before he has the feeling he has understood a work enough to be able to give ittitle. The titles are then mere hints, not keys, as though the works could be opened like containers in order to retrieve their finished “meanings”.

Mostly the picture fields are crossed vertically with dense streams of particles, as if from cosmic background radiation. This may light up to became cold glaring fields of light, like those we see on have works Otto painted in 2006 at the Yehudi-Menuhun-Forum in Marl. Strikingly often, the pictures have been horizontally decided into two parts, sometimes in a razor-sharp line, sometimes only using an invisible “mirror axis”, the two dark fields standing immeasurable heights and depths, as privileged as it is lonely. Otto's paintings seem to be borne by a need for knowledge. They indicate things beyond themselves, without intending to define what this Being-Beyond-Themselves is. Their geometry is less constructivist than symbolic, an attempt to lend the non-visible a rational form, and to find approachable paths into the unknown.


Dr. Peter Lodermeyer

Bonn, December 2006

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