Water for my flower, Wind for my tree
The dialectics of the taut, energy-charged foreground and the laconic build up of the background open up new depths. The modulation of colour also comes across as more determined, while the structural elements are contrasted more sharply with each other: dark clusters of energy gather their colour energies against a lighter, receding picture space. Applied opaquely or transparently, the paint traces lay their genesis bare, yet without forfeiting their connotative qualities. An impression of landscape often comes to the fore. Not conclusively, but the eye is led along the paths of paint, following their rhythms. The pictures’ pace sometimes seems broad and relaxed in time and space, only to be then accelerated in contorted energy. Through the various ways in which they flow or accumulate, advance or recede, the paint paths organize the picture’s space and seem to suck in and guide the viewer’s gaze. This performative re-enactment of the painter’s act is one characteristic which gives Assefjah’s pictures a special quality.
The paintings’ clear rhetoric of colour and form lends them an air of being pregnant with reality; it would not be out of place to call them ‘painting as reality’.