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investigates materiality and void, paralleling Rimele’s interest in   The interplay between structure and illumination in Rimele’s

           dematerialization. The dissolution of edges in Rimele’s paintings   work challenges the notion of static objects. His paintings shift,
           echoes Irwin’s philosophy of blurring boundaries between   breathe, and dissolve under changing light conditions, demanding
           physical and perceptual realms, allowing light to become the   active engagement from the viewer. Much like Eliasson’s
           primary agent of transformation.                           immersive installations or Irwin’s perceptual spaces, Rimele’s

           Yet, Rimele’s approach remains distinct, deeply rooted in   work refuses to be passive, it invites participation, contemplation,
           European sacral traditions and spiritual minimalism. His works   and interaction.
           ‘The Conjunction’, ’The Pillar of Radiance’, ’The Touch’, and   Through his mastery of spatial manipulation and the poetic
           ’The Caress of Gratitude’, operate as generators of light, where   subtlety of light, Rimele reinforces the enduring significance of

           hidden dimensions dictate the experience of the work. His recent   illumination in contemporary art. His inquiry into presence and
           exhibition, ’Yearnings of Light’, showcased at Rajhenburg Castle   absence transforms painting into an experience rather than an
           in 2025, exemplifies his mastery of luminous articulation. Here,   artifact. In this regard, he stands among the defining figures of
           light does not merely accentuate form but is absorbed, reflected,   visual culture today, continuously questioning and expanding the

           and ultimately transcended.                                boundaries of perception. (The Editor)




































































           VIEW OF THE EXHIBITION: THE IMAGE OF LIGHTS AS THE LIGHT OF AN IMAGE (BAŽATO GALLERY, LJUBLJANA, 2025)


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