The Tate Modern’s new exhibition featuring the art of Gerhard Richter is not just an aesthetic pleasure but an intellectual exploration of the mechanics within art. The exhibition spans nearly five decades, outlining the artist’s progressive journey in his quest to vocalise the visualisation of a subconscious reality.

In Room 10, Richter describes his work as the physical realisation of a destructive process in which, by peeling portions of the canvas apart, he is vocalising the idea of obliteration. What is curious about much of the work shown is that there is no particular focal point within the paintings. Rather we experience a vision of differing interest which in turn creates a distinct visual tension in the canvas. The technique of smearing pigment across the surface with a squeegee is a device that is developed throughout the exhibition. The crude application of oil is balanced by a phenomenal sensitivity in the graduation of colour. The concept of subterfuge and illusion exudes from Richter’s work, requiring the viewer to subconsciously immerse themselves within the work, thereby challenging the distinction between visual and psychological analysis.

His Abstracts are set against his interest in the medium of photography. It is interesting to note that in each of the “grey paintings” we are presented with a blurred vision that ironically renders those images more defined. They present an alternative version of reality and one that opens itself up to the emotive projection of the viewer. They afford but a momentary impression, from which flows our personal response. The exhibition overall is a beautiful display of an artist’s fascinating career and is one I can highly recommend.