The Blue Horse by Franz Marc - here as a dot painting. The dots painted with watercolor are reminiscent of a color vision test to check the color sense of the eyes. But of course the template is familiar to most viewers. This kind of color vision test plays with the memory of familiar pictures. If you stand close to it, you see almost only dots. Colored dots. But it's hard to recognize the subject as such. The further away you get from the picture, however, the more the contours of the dots blur, the colors slowly grow together in your eye, and a picture emerges - precisely the Blue Horse by Franz Marc. Because you know the picture, your own visual memory now interferes with your perception and it almost seems as if more details become visible in the picture with increasing distance. Objectively, of course, this cannot be at all - but the experience of the viewer is resistive.
I am fascinated precisely by this play with proximity and distance when viewing the image - as of course with the other images in this series. Art as a perceptual experience, as a reminder of art history, of the many great works of art. According to my experiments, it constantly drives you back and forth: sometimes you want to see it up close, sometimes from a distance. But unlike usual, the image blurs the closer you get. And it becomes clearer as you move away.
The topic of vision screening has occupied me since I was a liberal arts student - I have created an extra website for it. In addition, I've published other articles on red-green weakness and red-green glasses. However, my new images have less to do with simulating such visual impairments and more to do with the effect of colors in the context of visual memory. They are still visual tests. I would call the whole thing neo-pointilism. George Seurat sends his regards ...