When all doors open, when all abysses of fear have been overcome and every subjective desire has been switched off, when the view gets clear like a mountain lake in spring, when the excited play of thoughts is interrupted and the hand finds rest, there comes to life a state of being out of which Joachim Bandau, born 1936, creates his meditative watercolors. For more than twenty years now the sculptor has been practicing this painting rite, demanding the highest degree of concentration, self-possession, discipline, trust and patience. The work, graphic-painterly, is created by a contemporary who thinks three-dimensionally, whose work mirrors inner spaces, which have recently become increasingly more complex, layered in and about one another. Bandau understands how to employ his media with ever greater sovereignty, unveiling picture-spaces of nearly musical transparence while retaining a great sensual vision.
Even as Miles Davis’ free improvisations trumpet wildly through his studio while Bandau works, the inner force of his “Black Watercolors” remains unbroken. Immersed in the painting process, he turns it around: lines emerge not as borders of surface-space but as a result of application of areas of color. While drying, lines form, made up of clotted paint-pigment, sharp and clear at the color’s edges, applied by a broad Japanese brush. The lines are so fine the viewer thinks they were made by a pencil. These lines have been created with no further device than the meeting of wet and dry paint-surfaces while applying a brush not too softly nor too hard. Where surface touches surface, where paint layers overlap, building on top of one another, increasing in density to form rhombic shapes, picture-spaces of unquestionable architectural quality are unveiled: corridors, cells, walls open entirely new fields of association. [Extract : On the Meditative Black Watercolors of Joachim Bandau : Dr. Katja Blomberg]