Demo 1997

Gerhard Richter’s painting, Demo, feels to me like a dreamscape. It’s all built up from layers of blurred marks, muted grays, and pops of bright red and yellow that give a sense of a world half-seen, half-remembered. I can imagine Richter in his studio, starting with an image—maybe a photograph—and then pulling the paint across the canvas, blurring the details, obscuring the clarity. It’s like he’s trying to capture the essence of a scene, rather than a perfect representation. This blurring becomes a way to question how we see and what we think we know. The vertical lines of the dragged paint create a screen, an emotional filter that makes me think about memory, distance, and the way emotions change our perception of reality. You know, it’s not just about what's there, but how we feel about it. Like all paintings, it adds to an ongoing conversation.