Untitled

"Förg's first paintings (monochromes or duochromes) are done on various supports (muslin, wood, copper, lead, aluminium). They are often conceived in several parts and in series, or presented as a sequence. The serial, repetitive aspect and this diversity of materials used as support denote an interest in the construction and installation of the object, at the expense of gesture or texture, and undermine the notions of uniqueness and technical accomplishment. The paint, oil or acrylic, is usually thinly and rapidly applied, contenting itself with covering a surface rather than creating a form. The imprecision of the boundaries between colours reinforces the impression that these are hastily executed works produced in an almost mechanical manner, one after the other. It is therefore impossible to consider this pictorial trace as the result of an expressionist or stylistic intention, or to associate it with the exploratory diversity of procedures used by Ryman, despite certain affinities" (C.Queloz, 'At the Crossroads of Disciplines: An Economy of Regard', Parkett, no.24, 1990, p.56)