Traversing Light and Colours in Hans Kotter’s Work

“…I viewed Kotter’s works of light as if I was reading a piece of poetry that opens doors to new way of thinking and understanding. The only difference of the two being that, this time around, the poetry is composed of light and colours.”

Amid recent COVID outbreak in Taiwan, the writer hasn’t been able to visit any museum or gallery during the last two weeks. Looking back at the many exhibitions I’ve visited right before the outbreak, I feel the urge to share with you some wonderful work by a particular artist that made a strong impression on me. The artist’s name is Hans Kotter.

Inside “Beyond Light — Hans Kotter” exhibition at Bluerider ART Gallery in Taipei

I didn’t know much about Kotter or his work before my visit to his solo exhibition “Beyond Light — Hans Kotter” at the Bluerider ART Gallery in Taipei. Before Hans Kotter, the only artist I knew — who also work with light and space — is James Turrell. Frankly speaking, I was never really keen on light art until I had the opportunity to witness the breadth and depth found in Kotter’s creation. Since I’m sure that all of my intelligent readers will look up the artist’s background online, I’ve decided to save up the space and, instead, invite my curious readers to join me on this adventure through colours and light.

Gallery space reflected in Hans Kotter’s “In a bubble” (2019–2020)

“In a bubble” was my favourite among several other works of light on display. Like a poet who chooses and arranges words for their meaning and acoustics, Kotter uses light as his alphabet and colour as his words to form patterned verses, resulting in a light-scape of big and small bubbles that overlap and intersect one another.

By using only light and colours, the artist excels in recreating a space with orchestrated LED light whose colour-changing nature evokes the ever-changing sky from dusk to dawn to twilight. It also seems that I viewed Kotter’s works of light as if I was reading a piece of poetry that opens doors to a new way of thinking and understanding. The only difference of the two being that, this time around, the poetry is composed of light and colours.

Many of Kotter’s work on display comes with a reflective surface or, more precisely, an infinity mirror that creates optical illusion of some sort. As a viewer, the writer was posed with the same challenge that many viewers would face when standing in front of his work. Should I be looking at the work or into the work? Which ones are the lights and which are mere reflection of these lights? These are just some of the questions that most viewers would ask themselves when they come face to face with the artist’s work.

Gallery space reflected in Hans Kotter’s “Double View” (2012)

What’s more, during the process of viewing, one can’t help but wonder if these beautiful patterns of light have crawled from its designated space only to blend in with the viewer’s physical surrounding space. Or maybe it could be the other way around — part of the space surrounding the viewer has mischievously stepped into this fantasy of light. The longer one contemplates in front of Kotter’s work, the longer one lingers in that indescribable state of trance, feeling puzzled.

“This is perhaps the main reason why I stopped looking for meaning that lies behind these works of art for, above all, being alive fulfils the highest purpose in life.”

After a quick reflection, the writer came to the conclusion that perhaps one shouldn’t be bothered by either its surrounding space or the light itself but, simply, looks into its self-reflection. This self-reflection, tattooed with patterns of colour, can open up a new way of communication — a conversation that takes place in a liminal space that is neither of this world nor the otherworld — free from all the hustle and bustle.

When a viewer falls into this reverie, he or she may also start to have the illusion that some of these light seem to have a life of their own, constantly moving and transforming themselves. Yet, it wasn’t long before I stumbled upon Kotter’s “Shifting Structure” projected on a video screen and realised that seeing these hexagonal patterns roaming across the surface is more than just an illusion. It is what it is.

The writer must admit that I haven’t seen anything that move me in ways like Kotter’s work did. Rather than seeing this wonderful creation as mere works of art, I see these light arts as living being. This is perhaps the main reason why I stopped looking for meaning that lies behind these works of art for, above all, being alive fulfils the highest purpose in life.