Der Beitrag What Remains erschien zuerst auf Susanne Witzig.

Der Beitrag In Struggle with red erschien zuerst auf Susanne Witzig.

Acrylic on canvas

June 2026

More than the sum of its parts…

At first glance, this diptych seems to be about geometry—about shapes, lines, and colors relating to one another.

But geometry is not the subject.

It is simply the language.

What interests me is the moment when individual elements cease to exist merely side by side. The moment when color, form, and space begin to create something that can no longer be reduced to its individual components.

The whole becomes more than the sum of its parts.

The two canvases are neither a continuation nor an opposition. They represent two states within the same process. The colors of one painting become the atmospheric space of the other. Forms dissolve, reassemble, and shift their meaning.

What emerges is not a mathematical order, but a space of relationships.

Perhaps the real work does not exist on the canvases themselves, but in the space between them—where the viewer’s gaze connects, completes, and allows something to emerge that was previously invisible.

Der Beitrag More Than the Sum of Its Parts erschien zuerst auf Susanne Witzig.

100 x 100 cm

June 2026

In Free Fall Upward speaks of a state between letting go and being held.

What first appears to be an explosion may in fact be a liberation. Fragments, colors, and lines break away from fixed structures and follow a movement of their own. Not against gravity, but beyond it.

The painting emerged in a moment of profound inner freedom — sustained by trust, lightness, and the experience of being completely at one with oneself.

Perhaps the title captures precisely this paradox:

That sometimes we rise at the very moment we stop holding on.

Der Beitrag In Free Fall Upward erschien zuerst auf Susanne Witzig.

2 x 80 x 80 cm

Acrylic on canvas

June 2026

Between earth and light…

This diptych is a tribute to my garden—and to the profound joy I find in nature.

Whenever I stand among the flowers, I am deeply moved by their quiet strength, their ability to grow from the earth toward the light. From tiny seeds emerge colors, forms, and wonders. Nothing seeks attention, and yet everything unfolds its beauty with a natural grace that never ceases to fill me with awe.

The luminous forms within these paintings are not representations of specific flowers. They are memories of the feelings flowers awaken in me. They are fragments of light, vitality, and fleeting moments of happiness. They speak of nature’s boundless creativity and its remarkable ability to touch the human soul.

While painting, I felt the quiet force that resides within all living things. The vibrant forms reach upward as though calling out to the sky. Yet at the same time, they remain connected to the earth—as if I myself exist somewhere between rootedness and longing.

My garden is more than a place. It is a space of inspiration, wonder, and connection. It reminds me that beauty does not need to be loud. It reveals itself in the light of a morning sky, in the dance of colors, in the unfolding of a single blossom.

With this diptych, I wish to share that feeling—my joy in life, my love of nature, and the certainty that even the smallest things can hold a profound and hidden beauty.

Der Beitrag Between Earth and light erschien zuerst auf Susanne Witzig.

4 x 50 x 50 cm

June 2026

Interstices

…from a calm and distant blue, through a vulnerable opening of pink, into a concentrated, energetic yellow, and finally into a green that evokes expansiveness, yet never quite comes to rest.

Interstices does not offer fixed answers; rather, it explores states of in-betweenness—

between control and surrender,
between intimacy and distance,
between fragmentation and wholeness.

This series reflects on what remains elusive: inner movements, quiet tensions, and the invisible transitions that emerge between thoughts, memories, and emotions.

Like fleeting glimpses of an inner condition, the works appear fragile and open, at times suspended, at times dense with energy.

Interstices invites us to look beyond the visible and attune ourselves to the subtle emotional echoes concealed within its open spaces and unspoken connections.

Der Beitrag Interstices erschien zuerst auf Susanne Witzig.

Dipychon

2 x 80 x 80 x 1,6 cm

May 2026

The Blue Behind

It At first glance, lines, fragments, and geometric shapes seem to dominate the image. They push to the foreground, set directions, create tension, and appear like traces of an internal attempt at order. But the longer you look, the more something else comes into focus: the blue. It carries the image. It holds the tension between calm and movement, between closeness and distance. The visible elements almost act like thoughts, defense mechanisms, or constructions of my consciousness — while the blue remains quietly beneath: a state of inner truth that cannot be fully controlled. Perhaps even that silent power that remains when everything believed to be secure falls apart. Blue often represents strength, expansiveness, and inner peace, but also longing and depth. In this diptych, it becomes a space that is not loud and yet holds everything together. Perhaps that is exactly what it is about: That the essential is not always where it is most clearly visible. But in what quietly works in the background and still supports us.
“The Blue Behind” invites you to search less for a fixed meaning and more for your own feeling when viewing. Because sometimes, in a picture, you recognize not only something foreign — but also something of yourself.

Der Beitrag The blue behind erschien zuerst auf Susanne Witzig.

Diptychon

2 x 80 x 80 x 1,6 cm

May 2026

Flooding of the mental order

For me, this diptych does not tell of two different pictures, but of two states of the same inner self… of a moment that slowly tilts.
In the left picture, I still move in a kind of mental expanse. The colors breathe. Turquoise, green, and light yellow open up a space that appears calm, almost light. The shapes float rather than struggle. Even where red appears, it still has direction… no outbreak. I experience this state like an inner ordering, a careful holding together of thoughts, perceptions, and sensations. Nothing is completely still, but everything still seems negotiable with one another. Then something changes.
Almost imperceptibly, the atmosphere begins to shift.
The right image carries a different temperature for me. The red spreads out like an emotional pressure that no longer stays in the background. The colors thicken, become heavier, hotter, more immediate. The geometric elements no longer make their way only in a constructed manner, but like fragments of a state that escapes my control, and suddenly lines intersect through space… like thoughts that have become too fast. Shapes collide, drift apart, lose their calm.
And yet a certain order remains. For the images still make the ambivalence of my existence visible by constantly moving between opposites… between control and decay… between precision and emotional overload… between beauty and inner tension.
Between the red areas, small areas of clarity persist within an emotional flood… like the attempt to maintain an inner support while everything is simultaneously shifting. The elements thereby express the language of my inner self… sharp, vulnerable, precise, and unstable at the same time. It shows an inner wavering, a balance that still exists and at the same moment is already beginning to break. But it is not a complete collapse… it is more the moment before. The moment when my thinking and feeling can no longer be clearly separated… when emotion begins to overlay the mental order, without completely erasing it. Probably that is exactly where the tension lies… in the attempt to maintain structure while something beneath it has long since become unbound.

Der Beitrag Flooding of the mental order erschien zuerst auf Susanne Witzig.

100 x 100 x 1,6 cm

Mai 2026

Unique

“Overgrowon in green”

…a feeling of sitting between two chairs…the desire for control…for order, for the deliberate placement of every shape, every line, every color. And at the same time, emotional chaos…something barely tangible that is difficult to guide. The green…occupying the entire space…not calm or harmonious, but alive, almost pressing. At first, the forms manage to preserve my sense of structure and orientation. But nothing in this painting remains stable…everything seems to be in motion, as if something is changing even before I am able to name it.

At first, I painted the elements in restrained muted colors, expecting them to manifest my sense of structure…I somehow gave everything I had while allowing my emotions to become visible only very cautiously. Why? I have no idea! But the longer I worked, the more this control dissolved. I introduced elements in neon colors, and only now do I realize this consciously chosen rupture. Perhaps it was even a small emotional act of resistance against my own caution. These neon colors are exactly what opened up the painting. Suddenly there was energy, tension, vulnerability. Not loud, but impossible to overlook. To me, these accents are like moments when emotions break through the surface, even though the mind actually wants to control them.

For me, “Overgrown in Green” therefore means more than just a color. It describes a process. The slow permeation by something alive. A state between thinking and feeling, between control and surrender. Perhaps also the moment when I stop trying to explain myself — and begin to truly feel myself.

Der Beitrag Overgrown in Green erschien zuerst auf Susanne Witzig.

Diptychon 2 x 80 x 80 x 1,6 cm

April 2026

Unique

Between Sky and Tulips Between sky and tulips…a memory of my wonderful journey to the enchantingly beautiful tulip fields in Holland…a moment when the weight of everyday life becomes quieter…with a feeling that I am no longer just standing in the world, but moving within it…light…carried…almost floating. The colors open this space…they flow into each other, without setting boundaries, like a sky that cannot be confined. There is something delicate in them…floral, a blossoming that does not describe but makes you feel. It is not an image of the tulip fields, but their echo…it is what remains when wonder continues to live within me. Geometric lines run through the painting like a quiet inner order. They provide support without limiting the vastness…a balance between thinking and letting go…between structure and feeling. In this field of tension, the diptych unfolds.

It tells of an inner being that often carries a lot and of the experience that there are places where something loosens. Where the world does not press, but opens up. Where beauty does not overwhelm, but supports.
Here, the tulips become a quiet promise: that there are moments in which the heavy lifts and something bright appears. Something that does not remain – but resonates. Like a vast sky that spreads within you for a moment.

Der Beitrag Between Heaven and Tulips erschien zuerst auf Susanne Witzig.