For Bruno Kurz, painting does not start with paint, but with the choice of the painting surface.
He utilises very different materials such as wood, canvas, silk or paper.

″Through layering as well as the combination of unconventional materials – gauze, sheet metal, resin – the artist accomplishes wild optical impressions.
Words such as transparency, levity, and dissolution describe the effect best. (...)
The thoroughly reflective resin layers and metallic surfaces create light tricks and reflections that define the atmosphere of the works.″
Over the last few years, the artist has increasingly used sheet metals; in his studio, he prepares and alters their surfaces with grinding machines.
Thus, light and colour will later be differently absorbed and reflected.
The first horizontal aspects are already generated in the primary material and influence colouring and colour gradients from the outset.

Many titles of his work (e.g. Lichtfänger (Light Catcher) or Translucent Horizons) demonstrate the mindset behind Kurz' oeuvre: navigating the phenomenon of light.
The geometric lines of the paint application or the material constitute the basic structure inherent in any new work.
Within these lines, Kurz works on the theme of light with always freshly composed and varied arrangements of colour and materials.
 "There is no such thing as the right light for my paintings", the painter points out: every incidence of light, every change of the beholder's position effects a new situation, new hues and colour fields emerge – his work appears to change constantly.
″Depending on the incidence of light and position of the viewer, the paintings may be perceived in a variety of ways.
The multiple viewpoints offered by the works are the hallmark of their vitality.″
Yet it radiates an unexpected calm, which is the result of optimised formal reduction and concentration.
In Kurz' work, light does not visualise anything representational, but, beyond the interplay of colours, indicates the potential for inwardness and a capacity for knowledge.
Thus the painter creates the conditions for meditation.
His paintings offer vanishing points and spaces of tranquility: "In our hectic world, stillness is the true spectacle."
For Bruno Kurz, painting does not start with paint, but with the choice of the painting surface. He utilises very different materials such as wood, canvas, silk or paper. 
″Through layering as well as the combination of unconventional materials – gauze, sheet metal, resin – the artist accomplishes wild optical impressions. Words such as transparency, levity, and dissolution describe the effect best. (...)The thoroughly reflective resin layers and metallic surfaces create light tricks and reflections that define the atmosphere of the works.″
Over the last few years, the artist has increasingly used sheet metals; in his studio, he prepares and alters their surfaces with grinding machines. Thus, light and colour will later be differently absorbed and reflected. The first horizontal aspects are already generated in the primary material and influence colouring and colour gradients from the outset.
Many titles of his work (e.g. Lichtfänger (Light Catcher) or Translucent Horizons) demonstrate the mindset behind Kurz' oeuvre: navigating the phenomenon of light. The geometric lines of the paint application or the material constitute the basic structure inherent in any new work. Within these lines, Kurz works on the theme of light with always freshly composed and varied arrangements of colour and materials.  "There is no such thing as the right light for my paintings", the painter points out: every incidence of light, every change of the beholder's position effects a new situation, new hues and colour fields emerge – his work appears to change constantly. ″Depending on the incidence of light and position of the viewer, the paintings may be perceived in a variety of ways. The multiple viewpoints offered by the works are the hallmark of their vitality.″
Yet it radiates an unexpected calm, which is the result of optimised formal reduction and concentration. In Kurz' work, light does not visualise anything representational, but, beyond the interplay of colours, indicates the potential for inwardness and a capacity for knowledge. Thus the painter creates the conditions for meditation. His paintings offer vanishing points and spaces of tranquility: "In our hectic world, stillness is the true spectacle."
Bruno Kurz