Susanna Fritscher practice is defined less by the materials she employs than by the immaterial elements she summons: air, particles, transparency, and light. “The works possess no fixed form; they fill the space, their reach is limitless, and they follow no hierarchy. Visitors, wandering bodies invited to release themselves from the pull of gravity, move through a space that simultaneously moves through them.” Grey thus becomes an agent of mediation, a passage from the concrete to the imperceptible, revealing fragile equilibria and recalling that “objects are colourless,” in the terminology of Wittgenstein to which the artist frequently refers.

In the 1990s, Susanna Fritscher’s work occupied the space between a pictorial practice rooted in landscape and an expanding exploration of spatial experience, particularly through painted glass and later Plexiglas works. Untitled (1996) belongs to this corpus of canvases that “manage and condense” the landscape, extracting it from its traditional conception as a vast expanse elusive to the eye. Painting assumes a liberating function here, emancipating representation from such constraints. Fritscher stages her work spatially by tracing its dimensions on the wall, allowing the viewer simultaneously to apprehend its internal movement and the relationship it establishes with the surrounding space. A gradient of a single tone, diffused from left to right, generates a space within space, creating an uncertain, shifting expanse that rises like a vertical horizon and transforms as the spectator moves around the canvas.