Lady Burn 1976

Friedel Dzubas made Lady Burn with paint, seemingly deciding as he went along which color would sit next to the other. It's all about process, right? I’m struck by how the colors, though distinct, bleed into each other, creating soft edges. Look at the bottom left, where the red sort of dissolves into the blue, almost like watercolor. It’s not a clean break, but a gentle meeting. That blending? It’s where the magic happens. It’s like the colors are having a conversation, agreeing to disagree, but still finding a way to coexist. This reminds me a little bit of Helen Frankenthaler’s soak-stain technique, but Dzubas feels a bit more grounded, more deliberate in his messiness. Both invite us to consider the painting as an event, an ongoing experiment, where happy accidents are just as important as the initial idea.