The design of the Candy GS grants them limited autonomy. Initially conceived as studies for the ‘Candy Gra- dients’ series, where the focus will be on the fold of the support, the draping of the metal—here, it’s primar- ily about exploring the chromatic field and the relationship between paint and its metallic support. Limited autonomy also prevails concerning a rhythmic hanging where colors and angles both form agreements and disruptions.

Neither quite painting nor truly sculpture, the Candy GS navigate at the edge of fields. But more than a matter of discipline, thus beyond the question of expansive painting (Erweiterte Malerei), what is genuinely aimed for here is ornamentation as a subject within these disciplines and their value systems. An exploration of the synergistic potential of this issue, drawing upon its manifold nature, encompassing both its trivial and spiritual dimensions.

Within this vertical chromatic landscape, the motif of electric light arises from the association between the support and the surface. The so-called ‘Candy’ paint, a thick and colorful varnish widely used in car tuning, forms a kind of glaze over the bodywork, transforming the car into candy. It appears more smoothed, ‘abge- lutscht,’ superficially perfect, yet having actually lost its allure, originality, and value. The same goes for the ‘Hard Edge’ cut. It slices through a gradient aerosol pattern within a wooden frame, always at the border of an urban-kitsch aesthetic, underscoring that the question of ornamentation is also one of taste, subjectivity, social class, and culture, thus, it is political.