wallpaper blue light

The eternal law of recurrence – as in the spiral – is opposed to the law of the eternal non-return – as in the parabola which is a distorted spiral. The former is relative, the latter is absolute. Nothing ever returns.

Besides painting, Erich Buchholz wrote several booklets and articles in which he investigated in depth the relationship between world view and the constructivist principles. Thus, in one of his articles he stated: In 1923, Buchholz's interest drifted towards architecture and he started working on the use of shell forms in buildings, such as the design of an egg-form house.

His studio at 15 Herkulesufer in Berlin was a meeting place for artists of the avant-garde, including—besides painters such as Hannah Höch and Kurt Schwitters—Dadaists writers Richard Huelsenbeck and Raoul Hausmann as well as the pioneers of abstract film Hans Richter and Viking Eggeling. Art critic Heinz Ohff described this studio in Buchholz's obituary, stating, "In 1922 he remodeled his studio flat at Herkulesufer 15 into the first 'environment,' the first abstractly designed three-dimensional space in art history." Original photographs of Buchholz's studio-space design do exist from that period and furthermore he exhibited them in the Grosse Berliner of 1923. The photographs reveal that he had developed it into a coherent abstract space—right down to a model of its ceiling design. The colour of the room in particular was important. A light blue was painted over the smooth surfaces of a fussy wallpaper pattern; a similarly light blue-green covered the rougher surface where wallpaper had been stripped. Both colours tend to lighten and expand the visual impact of a small space. Various motifs on the walls were continuously re-arranged—sometimes the dominant sphere on the wall remains uncovered, sometimes it is in eclipse. This activation of its elements sought to reinforce the mobility experienced when encountering an artwork as a three-dimensional space. A reconstruction of his studio was built and presented in 1969 in the Kunstbibliothek of Berlin, organized and curated by Hans-Peter Heidrich, the director of the Daedulus gallery.

Erich Buchholz was born on January 31, 1891, in Bromberg, West Prussia, Germany (now Bydgoszcz, Poland). He started working as a teacher in a primary school in Berlin, painting in his free time. In 1914 he decided to become a full-time artist and to study painting with Lovis Corinth, but managed to take only one lesson before being conscripted.

Erich Buchholz (1891–1972) was a German artist in painting and printmaking. He was a central figure in the development of non-objective or concrete art in Berlin between 1918 and 1924. He interrupted his artistic activity in 1925, first because of economic hardship and, from 1933, as he was forbidden to paint by the National-Socialist authorities. He resumed artistic activity in 1945.

Due to economic hardship, Buchholz was forced to move from Berlin to the countryside. In 1925, he settled in Germendorf near Berlin where he supported his family through market gardening and by raising poultry. For some time he also opened a sand quarry.