[…] Ruth Elisiv Eke­land's con­struc­tive pro­ce­dure is the vi­sual form of an im­media­cy of col­ors, which she makes trans­pa­rent as the painterly res­o­nance of a per­cep­tion of spa­tial depth in the tem­po­ral suc­ces­sion of the per­ceiv­ing eye; in its for­ma­tion, its be­ing form­ed, ul­ti­ma­te­ly in its emer­gence in the sur­face of the paint­ing. In them the nar­ra­tive im­pli­ca­tions of the ob­jec­tiv­i­ty of du­ra­tion be­come pal­pa­ble; their emp­ty con­cep­tual space be­comes the in­di­vid­u­al mech­a­nism of pro­jec­tion of the vi­su­al­i­sa­tion of sen­so­ri­al cor­re­spon­dences of im­me­di­ate sen­sa­tions, such as of the to­tal­i­ty of a land­scape or gen­er­al­ly nat­u­ral dis­so­lu­tion. The di­rec­tion of the ex­pan­sion of du­ra­tion pen­e­trates in­wards, pro­ject­ing into the depth of the col­ors, just as much as out­wards, for­ward in­to the real space.

The tone of the col­ors, which in their clashes against one an­oth­er and in their con­fron­ta­tion re­sound in the alien­ness of their un­name­abil­i­ty, the ar­ti­fi­ci­al­i­ty of their ap­pear­ance – this tone is made up and de­fined out of the phy­si­cal­i­ty of sep­a­rate col­ors, out of the ten­sion of their pro­por­tions as the stag­nat­ed pro­cess of mem­o­ry of an ini­tial path of light into the ex­ter­nal world of the in­ner world. The pan­el painting be­comes a site of in­ner vast­ness, out of and in the ten­sion with its pre­con­ceiv­ed, ob­jec­tive and con­cep­tual limits.

Move­ment – as im­ma­te­ri­al echo – un­folds in the sound of the col­ors; the con­struc­tive mo­ment is for this move­ment only the con­di­tion that trig­gers its tran­si­tion to the open­ness of the mo­tion of per­cep­tion. The dis­tance which the col­ors em­a­nate pro­vides sup­port, in or­der for us to open up to their near­ness, density and in­ten­si­ty; their ar­ti­fi­cial­i­ty ap­pears as the qual­i­ty of ir­ri­ta­tion in the uni­ty of the fam­i­liar as much as of the un­named, which from this unity’s own ob­jec­tive lin­guis­tic en­er­gy cir­cum­vents the con­cep­tual col­or pat­terns and lin­guis­tic clichés. […]

Wolfgang Siano