Förg’s first paintings, in the early 1970s, seem like meditations on modern abstract art. They are monochromes, mostly grays and blacks, executed with a painter’s roller. This pictorial practice led critics to see similarities with certain earlier exponents of American abstract painting, such as Newman, Ryman, Stella and Marden, and an approach consistent with that of Gerhard Richter during the same period.
In the 1980s Förg began to develop painting in dialogue with the surface of the support, using metal sheets in place of canvas, so that the paint would not be absorbed, but instead would be reflected in the space. [...]
