T E X T S  |   G A L L E R Y
Carlfriedrich Claus Rolf-Herrmann Geller Gabriele Juppe Alojzy Oborny		For Levin Colmar, the act of painting gives form to a deeply personal vision, one which underscores the existential, the human element, along with its intimate surroundings and feelings. His works are traces, traces of subtle restraint in which his themes appear to us in a new, subtle and unpretentious light. Formally speaking, he achieves this through the use of extremely original colors which saturate the canvass and record the longing motive in restrained shades as the colored representation of a mood. His is an art which displays elegance and skilful use of tonal values, especially in the figures and faceless faces. On further observation, formal substance gradually emerges from the canvass. Aesthetically speaking, his is a subtle presentation which manages to do without obvious effects. The effect is salutary. Particularly in the large works on paper, the uncolor of the colors involve the observer, the nebulous tones of gray convey the moods which speak to the eye of the beholder. Deciphering the language of movement from such colored surfaces is suspenseful, as is feeling the chalky atmosphere of the gentle tints. The whole is balanced painting, where as a norm the gentle depiction of the human figures - even when distorted and deformed - seems to speak a language we have almost forgotten: silence. The integration of form and content, content and form is the fascinating thing about Levin Colmar's work, which is thrilling to observe, which frees up new avenues of perception. Levin Colmar has released color from the strict school of painting and molded it anew, in new processes. To see all of this, to experience it and to touch it with the eye is thrilling. Levin Colmar's work is supremely good at the very highest level of ability.
		Rolf-Herrmann Geller, Hannover 1997