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  • Cadenza: Detail of parking garage facade stainless steel glass frame, interior view
  • Cadenza: Parking garage facade - one of four bays
  • Cadenza: View of one bay of parking garage glass facade
  • Cadenza: Exterior view, detail
  • Cadenza: View of parking garage glass facade stainless steel frame, detail
  • Cadenza: Half scale model for parking garage glass public art, original proposal
  • Cadenza: View of glass facade during installation
  • Cadenza: Original conceptual sketch of the parking garage facade
  • Courtly Evanescence: Interior view of glass wall
  • Courtly Evanescence: View of outside at night, detail
  • Emerald Laminata: Infinity, sculpted glass, laminated
  • Emerald Laminata: Detail of Tree of Life
  • Emerald Laminata: Tree of Life, view of three-dimensional glass wall, companion to the glass wall Infinity
  • Emerald Laminata: Infinity, view of three-dimensional glass wall, companion to the glass wall Tree of Life
  • Emerald Laminata: Overall view of the rapid transit station during public art installation
  • Emerald Laminata: haufschild_emeraldLaminata_PICT0026
  • Emerald Laminata: Detail view of the 3-D glass wall Tree of Life
  • Emerald Laminata: Image of people behind the glass wall
  • Emerald Laminata: Tree of Life glass wall, detail
  • Emerald Laminata: Detail, Tree of Life
  • Emerald Laminata: Detail of Tree of Life glass wall
  • Emerald Laminata: Engineers touching the glass face
  • Emerald Laminata: Perplexed engineers enjoying the sculpted glass wall
  • Emerald Laminata: People behind the Infinity glass wall
  • Emerald Laminata: Detail of Infinity glass wall
  • Emerald Laminata: Installation of the computer controlled lighting system
  • Emerald Laminata: Tree of Life glass wall three-dimensional model during virtual fabrication process
  • Emerald Laminata: Infinity glass wall model during virtual fabrication process
  • Emerald Laminata: Photo montage of the original sculpted clay models used in virtual fabrication
  • Firefighting Window: Interior view of the fire station entry window
  • Firefighting Window: Detail view from the inside of the fire station with passersby in motion
  • Four Elements: Westminster Abbey during its dedication ceremony
  • Four Elements: Westminster Abbey during its dedication ceremony
  • Four Seasons: Spring Window, interior view
  • Four Seasons: Summer Window, interior view
  • Four Seasons: View of Winter Window with reflections of Summer Window
  • Four Seasons Stanza: View from hallway
  • Four Seasons Stanza: Detail
  • Four Seasons Stanza: Partial view of beveled glass installation
  • Four Seasons Stanza: Digital rendering of freestanding glass sculpture
  • Generations Window: Interior view
  • Generations Window: St. Stephen's Church
  • Golden Keys: View of mosque at dusk
  • Golden Keys: Outside view of two windows at night
  • Golden Keys: Outside view of one window during day
  • Golden Keys: View of interior at night
  • Golden Keys: Interior view of one window during the day
  • Golden Keys: Detail of window showing layered painting on inside and out
  • Holy Spirit: View of window from the baptistry interior
  • Holy Spirit: View of the exterior of the baptismal chapel
  • Holy Spirit: Interior view of upper window
  • Holy Spirit: Lower window, detail
  • Holy Spirit: Detail under different light conditions
  • Holy Spirit: Window, detail
  • Light in Equipoise: View of beveled glass curtain when opened
  • Light in Equipoise: View of beveled glass curtain, closed
  • Light in Equipoise: Detail of beveled glass curtain
  • Light in Equipoise: Interior view of entrance doors
  • Migration: Glass sculpture, detail
  • Migration: Travelers observing the freestanding glass sculpture in the airport ticket lobby
  • Migration: Front, detail
  • Migration: Detail view of vertically laminated glass sculpture
  • Migration: Front, detail
  • Migration: Frontal detail of the vertically laminated glass sculpture
  • Migration: View from the escalator
  • Migration: Pre-installation viewing in studio
  • Pasture: Interior view of curved painted glass wall
  • Pasture: Exterior view of the curved painted glass wall
  • Pasture: Overall view of rapid transit station
  • Rainbows Edge: Original drawings of the eight windows
  • Rainbows Edge: Detail
  • Rainbows Edge: Detail under different light conditions
  • Rainbows Edge: Angled view, detail
  • Rainbows Edge: Detail under different light conditions
  • Spectra Veil: Layered and beveled glass wall, exterior view at night
  • Spectra Veil: Partial view of the glass wall from the museum interior
  • Spectra Veil: Schematic concept drawing of the museum
  • Spectra Veil: View of museum from Bloor Street
  • Spectra Veil: View of museum from Bloor Street
  • Spectra Veil: Detail view of glass wall from staircase
  • Spectra Veil: Detail with reflection
  • Spectra Veil: Detail with refracted autumnal trees
  • Spectra Veil: Detail, refracted building seen through the layered glass wall
  • Spectral Calm: Detail of with different light conditions
  • Spectral Calm: Detail of with different light conditions
  • Spectral Calm: Detail of layered beveled window
  • Spectral Calm: Outside view of hospital chapel
  • Spectral Calm: Mezzanine view outside chapel
  • Taunus Sail: View of suspended glass sculpture in city hall entry lobby
  • Taunus Sail: Suspended glass sculpture, detail
  • The Great Wave: Overall interior view, international terminal departure lounge
  • The Great Wave: Detail of laminated glass wall
  • The Great Wave: Detail of the laminated glass wall
  • The Great Wave: Angled detail of the laminated glass wall
  • The Great Wave: Bronze sculpture ‘The spirit of the Haida Gwaii’ by Bill Reid in front of the glass wall
  • Trinity Windows: God the Father window at left, with Holy Spirit window at right
  • Trinity Windows: God the Father window, with reflection of the Holy Spirit window
  • Trinity Windows: Holy Spirit Window
  • Trinity Windows: Detail of the Holy Spirit Window
  • Trinity Windows: God the Son Window
  • Trinity Windows: Reflection of the God the Son Window
  • Trinity Windows: One of the small windows on the ground level
  • Trinity Windows: One of the small windows on the ground level
  • Trinity Windows: Small windows showing the Freedom Monuments in Latvia and Estonia
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  • Crucifixion Window: View of the Chapel interior with reflection
  • Crucifixion Window: Window view under different light conditions
  • Crucifixion Window: Chapel window, exterior view
  • Crucifixion Window: Detail with tree branches behind
  • Crucifixion Window: Model suspended during photo shoot
 

Moving Colours: New paintings by Lutz Haufschild, by John Moir

From across a room and at first glance, one of these pictures could be mistaken for a surveillance image, taken from miles above, coding a remote, complex landscape in brilliant colours. The colours seem to map out a vast territory, distinguishing and clarifying this wild landscape only to a trained observer. But as you move closer, the image seems to be subtly in motion, in one moment expanding outward, in another, reversing and compressing into the background.

Now you notice that the image is composed of vivid patches of coloured paint, crowding each other, overlapping and entangled. For this is no earthly landscape. These constellations of colour are the subject, endlessly creating, and recreating themselves over the surface of the canvas.

This kinetic energy is contagious. It's hard to stand still gazing at this picture. The coloured forms radiate outward, responding to changing light and proximity, coming forward, as if curiously regarding the viewer. Then, either a change in light, or the viewer's point of view will cause those colours to recede, as another patch of colours emerges.

The viewer finds himself moving in, stepping back, shuffling back and forth with the moving colours. Haufschild's painting technique is revealing. His process of applying paint has this quality of emergence and recession that we feel when standing in front of the work. Applying paint thickly, with a spatula, he will build the colour gradually, sometimes working wet in wet, sometimes waiting for the paints to. Thus he reaches often 20 to 40 layers. If he realizes he's gone too far, he may grind the paint down, and start again from a lower layer, rebuilding the colour.

Haufschild says that during this process, he alternates between elation and frustration, delighting in the formation of the picture, then losing the thread of this dialogue with colour, then struggling to find it again.

Thus, while Haufschild initiates the creation of the picture, the picture soon takes over and he relinquishes complete control of the emerging image, receptive to its needs, learning when to let it be. The resulting picture possesses a kind of radiant colour we associate with art glass and independence, having a life of its own. You wonder what it's doing when you're not in the room.

Medium: 
Heavily layered paint and mixed media on board