Fred Thieler, who died in Berlin in 1999, was undoubtedly the exponent of Informel painting in Germany, whose works bear the closest affinity to American Expressionism. And indeed Thieler's highly individual treatment of colour and canvas are redolent of Jackson Pollock. For the act of painting, the canvas or paper was laid flat on the floor. The paint, poured from tins, buckets, canisters or watering cans, often onto a tilted canvas, was sometimes subsequently reworked with a brush. This technique was applied rapidly and with intense concentration, and Thieler's painting were created in a process of "calculated chance", without recourse to preliminary studies or sketches. Once the compositional process had begun, it was followed through to the end without pause. Generally Thieler drew on a palette comprising blue and red, interspersed with elements of black and white. "Blue Start" confronts the viewers with an insight into the vast dimensions of the universe. Notions regarding the fundamental mysteries of human existence, the spiritual depths of humanity condition may also be concealed within this vortex of colour. "For me being a painter", explained Thieler, "means leading the existence of a contemporary observer who spends the majority of his life endeavouring to highlight on canvas the impulses of his life: depression, intuition, calculated thought, reactions to individual experiences and to chains of events - or to arouse these in the act of painting."
(Fred Thieler, quoted in: Ferdinand Ulrich (ed.), Kunst des Westens - Deutsche Kunst 1945-1960, Exhibition at the Ruhrfestspiele Recklinghausen 1996, Kunsthalle Recklinghausen 5.5.-14.7.1996, Cologne 1996, 224)
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