...her work always verges on a form of visual communication which is influenced by the psychology of perception and which employs three-dimensional lines and planes in space. (https://frieze.com/article/nelly-rudin) Nelly Rudin embarked on her creative output relatively late in life. Born in Basel, she trained as a visual designer and subsequently worked in various advertising studios in Zurich. She produced her first artistic works only in the mid-1960s, having her first solo show at 40. It is not always easy or wise to trace an artist’s work back to her biography. And yet many things suggest that Rudin’s artistic output began at a point which many artists strive for years to attain: the point where one understands what it means to reduce something to the essentials. It is precisely this highly concentrated ability that Rudin has demonstrated from her early works to those of the present – whether in paintings or objects, works in aluminium or acrylic glass, or quite simply in her sketches. In Winkel-/Fragmentobjekt [Angle/Fragment Object], we find aluminium angles whose sides taper outwards from an imaginary centre. The 4 angles are all the same shape – with one longer and one shorter side. They are set along the diagonals of an invisible square, and the surfaces facing the diagonals have been lacquered using primary colors. The effect that Nelly Rudin achieves through this highly reduced constellation of form and color is immense. The work remains more or less concealed when one views it face on directly at the centre point where the diagonals intersect. Viewed from this vantage point, all that can be seen are the white upper surfaces of the angles and faint chimerical colors where the hues inside the angles are reflected on the white background. But if one moves in any direction from this central point, the colors red, yellow, blue and green become the dominant structuring features... http://www.museum-ritter.de/sprache2/n1881360/i1878110.html undefined

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