“Art is nothing but the light of nature” Goethe

Hans Kotter is an expert when
it comes to colours and light... Devising his own experimental set- ups, he devoted himself to a study of light and its segmentation into colour spectra. The visualisation and aesthetic staging of light refraction, and colour compositions of great virtuosity have been part of Kotter’s basis repertoire of works since then:

“There is no other element with such a lasting impact on life on
our planet as light. Light fascinates me in a huge variety of ways and

I have investigated the medium of light, with its composition, physical contexts, colours, perception and cultural history for many years. The experiences and insights resulting from this investigation are later implemented in my works.”

It is the playful treatment of a wide range of materials such as
oil, water, acrylic glass, stainless steel, chrome etc. and their effects in relation to light and colour

which fascinates Hans Kotter and inspires him to try out new forms
of expression continually. This diversity in the handling of materials is revealed in his works’ great power of expression and variety.

The series of works colour codes is evidence of this approach: colour codes are light objects, the vertical coloured structure of which illuminates ever fresh combinations of colours with endless variety. At first glance, these photographic collages, which are reminiscent of barcodes, create an effect using minimal aesthetics, unfolding a diverse play of colour on the basis of LED lighting technology. A large

number of optical and aesthetic impulses are created by changes
in coloration; the codes appear
to be moving slowly due to the changing colour spectra. Even
the surrounding wall space and
the room itself cannot remain unaffected by this choreography of light and colour.

In his latest works, the so-called “Tunnels”, Hans Kotter is concerned

with an illusion of space: in newly developed light objects consisting of filigree, reflecting glass volumes that generate a special aura of
their own due to their superior material quality and precision, the approaching viewer is compelled by a mysterious and forceful attraction, which gradually develops into a deep rapture. As if by magic, the reflecting surfaces of the light object are transformed – when the source of light at the object’s centre is switched on – into an enchanting tunnel of colours, the end of which is unforeseeable, and which – as in Alice in Wonderland – offers us apparently infinite freedom to develop our fantasies and imagination.

The tunnel pointing into infinity, whether curving or straight, is
a phenomenon that appears so realistic one would like to extend one’s hand into it; one is overcome by an irresistible attraction. But it is a game with illusion, with the apparently endless, constantly surprising and astonishing ways to stage light and colour artistically.