Günter Umberg explores the materiality of color in his paintings. This exploration involves the use of a wide brush to apply countless layers of pure pigment to aluminum sheets or panels of machine-cut compressed wood, with only natural dammar resin serving as a binder. Although Umberg sees the focus of his work as a painter in the process of the transformation of unconsolidated pigment into painted color, his works offer no clear artistic signature that the beholder might detect. Bound to their concrete material appearance, these paintings distinguish themselves in terms of the penetrating presence of the color that they engender, a presence that needs the perception of the beholder. It is only by assuming an immediate contraposition to the works that the beholder can discern the properties of the colors on their fine surface structures or the extent to which these color volumes change the overall appearance of the exhibition wall and the larger architectonic context as well. With his painting, which reflects no more than the conditions and characteristics of itself, Umberg creates locations of heightened perception.
Born in Bonn in 1942, lives and works in Cologne (D) and Corberon (F).