Based on the composition of a classic landscape painting, Bruno Kurz creates delicately structured landscapes of colour, which do not reference an actual place any more but depict moods and atmospheres – floating between stillness and energetic dynamism. "
The quietness emanating from his works results from their concentration, from their formal and chromatic restraint and the conscious rejection of the spectacular in his pictorial subject matter: landscape and colour space.
Despite their discreet harmonies, the works of Bruno Kurz are actual bundles of energy."
Emphatically horizontal lines and areas can visually expand beyond the frameless margins of the picture into infinity, and, in conjunction with vertical colour gradients, form a Perpetual motion, effecting a balance of opposite movements – to the point of apparent stillness.

This impression is emphasised through his choice of the square format.
Since Kazimir Malevich, the square is considered the absolute form of abstract painting in the 20th century, and, in Bruno Kurz' work, finds its way into landscape painting.
It does not become a theme in itself, but lends an almost archaic force to the imaginary horizons and changes in direction of the colour gradients between sky, water and earth.
The square creates an unusual section of these colour-landscapes while, at the same time, focussing the permanent oscillation between states of matter.

Energy fields and directions of movement are geometrically fixated and concentrated as in a cross, the symbol of the union of extremes, of synthesis and proportion.
It combines time and space.
This primeval formal element of art history serves as the subcutaneous base structure in most of Kurz' paintings.
It is subliminally discernible in particular geometric components, vertical and horizontal lines, cross-hatching on metal or in brush strokes and enhances the meditative aura of the paintings.
Square and cross double the force that originates here, apparently still, yet always in motion: both in the variations of incidence and reflection of light and in the gaze of the beholder.
Through the consistent reduction and abstraction of the forms and elements, an unfathomable, almost sacral depth is created.
Or as one of his German galleries points out: "Inspired by the classical composition of the countryside, Bruno Kurz produces nuanced, abstract color landscapes of unbelievable illumination and depth."
Based on the composition of a classic landscape painting, Bruno Kurz creates delicately structured landscapes of colour, which do not reference an actual place any more but depict moods and atmospheres – floating between stillness and energetic dynamism. "The quietness emanating from his works results from their concentration, from their formal and chromatic restraint and the conscious rejection of the spectacular in his pictorial subject matter: landscape and colour space. Despite their discreet harmonies, the works of Bruno Kurz are actual bundles of energy." Emphatically horizontal lines and areas can visually expand beyond the frameless margins of the picture into infinity, and, in conjunction with vertical colour gradients, form a Perpetual motion, effecting a balance of opposite movements – to the point of apparent stillness.
This impression is emphasised through his choice of the square format. Since Kazimir Malevich, the square is considered the absolute form of abstract painting in the 20th century, and, in Bruno Kurz' work, finds its way into landscape painting. It does not become a theme in itself, but lends an almost archaic force to the imaginary horizons and changes in direction of the colour gradients between sky, water and earth. The square creates an unusual section of these colour-landscapes while, at the same time, focussing the permanent oscillation between states of matter.
Energy fields and directions of movement are geometrically fixated and concentrated as in a cross, the symbol of the union of extremes, of synthesis and proportion. It combines time and space. This primeval formal element of art history serves as the subcutaneous base structure in most of Kurz' paintings. It is subliminally discernible in particular geometric components, vertical and horizontal lines, cross-hatching on metal or in brush strokes and enhances the meditative aura of the paintings. Square and cross double the force that originates here, apparently still, yet always in motion: both in the variations of incidence and reflection of light and in the gaze of the beholder. Through the consistent reduction and abstraction of the forms and elements, an unfathomable, almost sacral depth is created. Or as one of his German galleries points out: "Inspired by the classical composition of the countryside, Bruno Kurz produces nuanced, abstract color landscapes of unbelievable illumination and depth."
Bruno Kurz