1959-65 | "Mass Writing" period

"On the face of the canvas, the centre presents itself as a maelstrom, abyss, vortex, delving into the depths of the work, moving and opening, forming and coming undone while constituting itself. Thus, it establishes a space in which the centre is everywhere and the periphery, nowhere."
Marcelin Pleynet, Reigl, Paris, Ed. Biro, 2001, p34

                   Exhibition "Judit Reigl", Galerie de France, Paris 2006 © Photo P.H.Müller

"Painting is positioned through masses on a canvas. I bought a material normally used by masons – a ground black pigment that dries slowly, in depth, over the span of years, which meant that I was always working on six or eight paintings at a time. Starting from a white background, I put clumps of paint on the canvas using a flexible and rounded blade, or, sometimes, a simple wooden stick, “raising” them up from the bottom to the top of the canvas, covering the lighter colours underneath with this black pigment. I could tell immediately whether it was successful or a failure, in which case, there was no way of correcting it."
Unfolding: A Conversation Between Jean-Paul Ameline and Judit Reigl, Art in America international review, April 3rd, 2009