Opus 47 1959

Hans Hinterreiter made "Opus 47" with paint on paper. I love how Hinterreiter's process is so evident—the way he teases out this geometric kaleidoscope with what looks like pretty flat colour, it all feels very determined. The surface is fascinating; the paper has a definite texture, a slightly rough feel that contrasts beautifully with the smoothness of the painted shapes. Look at how each colour is carefully laid down within those crisp, clean lines. The overall effect is this vibrating energy, like the painting is alive and buzzing. And those spiraling shapes! The way they seem to twist and turn, pulling you deeper into the composition, it's like the whole painting is breathing. You know who this reminds me of? Hilma af Klint. She was exploring similar ideas around the same time, but in a more spiritual, abstract way. Both artists were onto something profound, pushing the boundaries of what painting could be, embracing the unknown, and leaving us with more questions than answers, which, let’s face it, is the best part.