. . . The autonomy of colour, a concept that emerged in the context of nonrepresentational painting, is taken one step further here: Colour has even emancipated itself from its picture substrate, turning itself into an expression of itself and an object for perception in space through its own plastic substance . . .
The transformation of this material in the described artistic context presumes the recognition that the phenomenon of painting which appears constitutive for our perception, i.e. that it usually unfolds on two-dimensional surfaces, enters into Tauss’ works in a paradoxical manner and coalesces with them.