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The use of incongruous materials is an essential part of Georg Herold’s practice. His caviar paintings, which he has created since the 1980s are the ultimate example of the informal abstraction of his earlier works.
The caviar appears as if sprayed across the canvas, with some parts thickly congealed and others dispersed to the point where individual eggs are almost visible. Smears of pink and yellow underpin the caviar, stains from the foodstuff that appear as deliberate as if they were formed by paint. Herold plays with the concept that caviar is both precious, a luxury material, and perishable, a quality embodied in the unctuous yet alluring surface of the canvas.
Yet Herold’s work defies the obvious connotations between caviar, the art market and conspicuous consumption; the abstract expanses the eggs sketch out elude interpretation deliberately. For Herold, rejecting the overtly symbolic in favour of slippery meanings that refuse to be pinned down is the ideal condition for his art.