Colour, light, and perception form the conceptual foundation of Ingo Nussbaumer’s painterly practice. Painting is understood here

not as a restorative continuation of traditional pictorial conventions but as a propositional act within an increasingly differentiated aesthetic field. Rather than affirming established forms, the work investigates how visual experience can be generated, analysed, and conceptually framed through colour relations and spatial perception.

Nussbaumer frequently engages with scientific models of colour, particularly spectral phenomena and optical perception, translating these into painterly structures that oscillate between sensory immediacy and analytical reflection. The resulting images function less as representations than as experimental visual constellations in which colour, light, and materiality become vehicles for examining the conditions of seeing itself. Painting thus emerges as an investigative medium that negotiates between aesthetic experience, theoretical inquiry, and perceptual knowledge.