Gerhard Richter

Richter’s mirror paintings, which he has continued to create since 1967, are coloured by the pigment attached to the back of the glass. These paintings fuse Richter’s abstraction with figuration; they are similar to his black and white photographic canvases in the reflection the viewer sees while contemplating the painting, and yet they have a similar quality to his monochrome grey canvases of the late 1960s in its rejection of representation and thus formlessness. These works are highly conceptual. They encourage active viewer participation, and yet reinforce the ephemerality of one’s own likeness.