The Art of Making the Invisible Visible.

Works on paper. Lines become fields. Time appears as a trace. The body translates the hand’s movement into concentrated pictorial spaces.

Harald Grünauer - Field Studies Scan 16, large-format hand drawing on paper

Selected Series

Gallery: Dimensional Structures, 2023

Dimensional Structures, 2023

“Dimensional Structures” was made in 2023. On sheets of 58 × 41 cm, colored-pencil lines develop complex, pulsating forms that resemble kinetic architectures of the mind. Each work explores the interplay of line, colour and space, with abstract structures evoking organic as well as mechanical associations. The series deals with movement and transformation inside a limited frame and opens an experience that oscillates between abstraction and perceptible depth. The sheets are immediate, energetic, and hold a subtle tension between control and chance.

Gallery: Time Machine, 2020

Time Machine, 2020

The Time Machine series consists of large-format colored pencil drawings in which lines, fragments, and layered forms become a drawn timeline. The drawings act like particles of movement through space and time.

Gallery: Search for Unknown Dimensions, 2019

Search for Unknown Dimensions, 2019

In this installation, drawing becomes a spatial event. Coloured contours, grids, and looping trajectories layer like measurement traces of an invisible field, gently shifting our sense of depth and orientation. The dark, silent block operates as a fault line in the image-space—a blind spot that interrupts vision and, at the same time, drives it forward. What emerges is a walk-in diagram where body, space, and imagination intersect as variable planes.

Gallery: Particles and Fields, 2021-22

Particles and Fields, 2021-22

The series Everything is Made of Particle and Fields consists of large-format colored pencil drawings on paper. Lines condense into fields, break open again, and form zones between movement and stillness. The works appear as snapshots of an invisible process. Created between 2021–2022, the drawings are designed as 150 × 1000 cm horizontal image surfaces that structure the room like a continuous band.

Gallery: Project Studio 2022

Project Studio 2022

These studio views present the workspace as a thinking space, where works from several periods lie side by side like pages of an evolving atlas. The colored contour line takes the lead, tracing shifts, routes, and moments of density without locking forms into place. In this setting, the studio becomes an open experiment in which the years 2015 to 2022 speak across each other. What starts as a quiet drawing on paper expands into a coherent field in the room.

Gallery: Spacetime, 2018

Spacetime, 2018

In the series “Spacetime” (2018), drawing becomes a kind of measuring field: lines, points and loops behave like traces of forces that cannot be seen directly. Time appears not as a narrative, but as pressure, as congestion, as condensation in space. The motifs act like models of transitions in which the unknown, the dark and the seemingly empty suddenly become palpable. These pictorial spaces explain nothing; they sharpen perception and hold a quiet, precise tension.

Gallery: Transformed Space, 2017

Transformed Space, 2017

In “Transformed Space,” space is constructed rather than depicted. Colored-pencil lines trace contours like measured paths across fields, making forces, currents and thresholds legible. Cool blues and warm golds open zones of depth and pull, while the contour line turns into a structural framework. These spaces feel exact and dreamlike at once, like an architecture caught mid-transformation.

Gallery: Time and Line, 2015

Time and Line, 2015

The series “Time and Line” (2015) is a drawn protocol of movement, thought and rhythm. The line aims at a state rather than a motif: a shimmer of repetition, deviation and condensation. Traces of colour set accents like short signals in the stream, while the image field expands like an inner cosmos. Time appears here less as a theme than as an experience made visible in the act of drawing.

Gallery: Time Machines, 2017-2018

Time Machines, 2017-2018

In the series “Time Machines” (2017–2018), drawing becomes a cartography of duration. The line works as a trace, not as decor: it scans the space, repeats, shifts and condenses until movement becomes visible. Between organic forms, technical suggestions and coloured markings, a field of signs takes shape that acts like a model for inner and outer worlds. The longer one looks, the clearer it becomes that this is about a state rather than a motif: time depositing itself in space as an enigmatic fabric.

Gallery: Time Loops, 2017-2018

Time Loops, 2017-2018

The series “Time Loops” (2017–2018) treats time as recurrence rather than as a line. Transparent layers of colour settle on top of one another like runs of an experiment, where traces either strengthen or vanish. Arcs, rings and hard cuts act like orbits that bind the space and open it at the same time. What remains is condensation: a state that holds, even though everything is in motion. The series comprises eighteen sheets measuring 47 × 31 cm. Mixed media here means that several materials come together on the same sheet: translucent glazes beside opaque paint. Because one can see through the glazed passages, the finished sheet reveals the order in which it was worked. The drawing thus shows how it came about. The title refers to a movement that returns without arriving exactly where it began. The superimposed arcs and rings repeat, yet no path coincides with the one before it. From this small deviation arises the impression of passing time. Up close one makes out the individual strokes. Step back and they join into a continuous movement. Seeing both at once is not possible, and this alternation is part of the experience of the works.

Gallery: Time Machines, 2015-2017

Time Machines, 2015-2017

The series “Time Machines” (2015–2017) works with the idea that time settles in space like sediment. Lines, loops and technical impressions form a structure of traces, measurements and repetitions, not a narrative. Colours set markings like signals, while the image field condenses and stays open at the same time. The space depicts nothing; it makes visible how duration takes form.

Gallery: Balancing Bodies, 2015–2018

Balancing Bodies, 2015–2018

In Balancing Bodies, figures appear as coloured contours that measure space instead of illustrating it. The bodies read like suspended markers within an unsettled interior of lines, fields and subtle shifts. Balance turns into tension, and tension into a quiet order that suggests more than it states.

Gallery: Mutants, 2017-2019

Mutants, 2017-2019

Series, Fineliner on paper, 150 × 300 cm Densely set fields of figures and fragments, like a world in the moment of its creation. The line does not narrate, it condenses: time, energy and movement become a single fabric. From close up it flickers cell-like, from a distance a choreography of bodies in transformation emerges. Mutants here are not a myth, but a clear thought: identity remains in motion, and form is a temporary state.

Gallery: Space Mutation, 2019

Space Mutation, 2019

The series “Space Mutation” (2019) shows spaces that lose their rules and bring forth new orders in doing so. Figure, object and environment merge into one another, as if the space itself were being rebuilt and rewritten. Fineliner produces a precise, nervous topography of lines, points and densities that read like measurement traces. Mutation here is a principle rather than an effect: reality stays fluid, and every image is another possibility.

Gallery: Multiverse, 2018

Multiverse, 2018

The series “Multiverse” (2018) maps space through density rather than horizons. Points, bubbles and islands of colour form fields that read like star charts, only without fixed centres. Layering and repetition create a sense of countless possibilities present at the same time. The image turns into the surface of a multi-space in which proximity, distance and energy keep changing their order.

Gallery: Dark Matter, 2018

Dark Matter, 2018

The series “Dark Matter” (2018) works with the paradox of visibility and omission. In dense layers of colour, fields emerge that read like cosmic nebulae: vibrating, restless, full of concealed movement. The dark here is not empty but charged, as if something invisible were holding the whole together. The image turns into the experience of a presence that cannot be grasped and is clearly felt all the same.

Gallery: Vaporization, 2017

Vaporization, 2017

The series “Vaporization” (2017) shows dissolution as a form of movement. Colour rises, flows apart, condenses anew and leaves traces like a protocol of changing states. Contours surface briefly and disappear again, as if matter were oscillating between visibility and vanishing. Everything stays in transition, and precisely there lies the tension of these sheets.

Gallery: Field Studies 2015-2020

Field Studies 2015-2020

Series, Mixed media on paper, 31 × 40cm, 2015-2020 These works emerge from layerings of color, water and material, in which diffusion, condensation and fringe zones become visible. Forms appear like traces of a process: circles, breakthroughs, soft bodies, sometimes grasped by dark brackets, sometimes floating freely. The images act like snapshots of forces working in the paper, slowly, precisely, without narrative. They are silent measuring fields of vision, in which time appears as a deposit.

Gallery: Contact Zones 2010-2012

Contact Zones 2010-2012

Series, Mixed media on paper, 45 × 50 cm Transparent bodies meet circles, grids and color fields, as if they were measuring surfaces of a silent experimental arrangement. Figures and animals stand like witnesses in the pictorial space, while proximity and distance constantly shift the form. Each work acts like a protocol: space becomes a stage, and color marks the forces pulling between everything. The series consists of fifteen works in mixed media on paper, 45 × 50 cm, made between 2010 and 2012. The almost square format favours no direction: there is no clear top or bottom for the eye to hold on to. A contact zone is the area in which two things touch without merging into one another. That is precisely where the tension lies in these sheets: between figure and grid, between body and colour field, between what is drawn and the surface left untouched beside it. The grids and circles are borrowed from the visual language of scientific measurement, yet nothing is being measured. They lay a system of order across the pictorial space against which the figures chafe. Whatever acts between things remains invisible and can be read only from its consequences.

Gallery: Time Lines 2012

Time Lines 2012

Time Lines Colored pencil on paper, 70 × 50 cm, 2012 The works in the Time Lines series unfold as finely calibrated systems of colour, line and rhythmic condensation. At first glance they appear as freely drawn movements, yet their internal logic reveals a precise order built on layering, repetition and controlled deviation. The pictorial space is not composed in the classical sense; it is built like a field in which forces circulate and modulate one another. Characteristic is the interplay of organic forms and constructive structures. The line always carries tension, while colour is used to give structure rather than to illustrate. These are spaces one runs through more than reads — visual processes in which time is experienced as a state. The series comprises thirty-two sheets in coloured pencil on paper, 70 × 50 cm, all from 2012. That a work of this extent arose within a single year belongs to its subject: the sheets are passes through the same question, not variants of a design found once and repeated. Coloured pencil demands a decision that cannot be taken back – unlike water-based paints, a line once set cannot be washed out. Density arises through repetition alone, stroke beside stroke. What looks like a closed surface on the finished sheet is in truth the sum of many separate passes. These works are therefore not read from left to right; they are walked through. There is no starting point the picture prescribes and no centre that holds the gaze. Time is not depicted here but becomes perceptible in the act of looking.

Gallery: Structures of the Imaginary, 2010

Structures of the Imaginary, 2010

“Structures of the Imaginary” is a series of colored-pencil works on paper from 2010. Delicate lines, dynamic shapes and subtle colour create a complex network of visual ideas between abstraction and narrative suggestion. Looked at closely, each composition opens further structures and patterns, as if thoughts and imaginings had taken on a visible order. The sheets invite the viewer into spaces where logic, imagination and perception meet — part of an ongoing effort to translate immaterial processes into concrete form. The series comprises fifteen sheets in coloured pencil on paper, 58 × 70 cm, made in 2010 – the same year as “Dynamics of the Imaginary”. The two series examine one question from two sides: here the fabric, there the movement that keeps it going. The imaginary does not mean the invented. It refers to those notions that form before they can be named and that nonetheless follow an order. That order becomes visible only once it is given form – which is what these sheets accomplish. The works do not release their second level at once. From some distance one sees a mesh of lines; only close up do the finer structures that carry it come forward. This alternation between overview and detail is not an addition but the actual experience the series offers.

Gallery: Dynamics of the Imaginary, 2010

Dynamics of the Imaginary, 2010

“Dynamics of the Imaginary” is a series of colored-pencil works on paper, with dense, rhythmic lines and abstract forms generating an internal system of movement. Each composition develops its own narrative logic, subtly linking form, colour and space. The series invites the viewer to experience the pulsating dynamics of imagination as a structured, visible reality. The series consists of thirty-eight sheets in coloured pencil on paper, 31 × 41 cm, all from 2010. The comparatively small format is a deliberate choice: the movement has to unfold within a field taken in at a single glance, and so it builds up. The rhythm arises not from the individual line but from its distance to the next. Densely worked passages alternate with open ones, and the tempo of the work lies in that alternation. The eye does not follow a single trace; it falls into a beat. Together with “Structures of the Imaginary” from the same year the series forms a pair. Both work with the same material and the same question: one looks for the fabric, the other for the movement within it.

Gallery: Figures through Space and Time, 2005-2015

Figures through Space and Time, 2005-2015

The series “Figures through Space and Time” (2005–2015) presents the body as a scale: as line, weight and movement in space. The figures read as passages rather than portraits, and space turns into a simple stage of edges, grids and planes. Between sketch and construction, a quiet dialogue of proximity and distance takes shape. Time becomes visible as a sequence of postures, as change that leaves its imprint in the drawing. The series comprises forty-eight works in coloured pencil on paper, made between 2005 and 2015. The formats change from sheet to sheet; each work determines its own frame. Ten years is a long time for a single series, and the span shows in the sheets. The relation between figure and space shifts perceptibly: the stage of edges, grids and planes comes forward step by step, while the figure loses contour and turns more and more into a path of movement. The series thus lies on a boundary within the work. It begins with the observed figure and ends with the forces passing through it. Laying early and late sheets side by side reveals the same transition the body of work as a whole made in those years.

Gallery: Color Fields and Superimpositions 2011

Color Fields and Superimpositions 2011

Color Fields and Superimpositions Acrylic on paper, 100 × 70 cm, 2011 This series explores the relationship between line, colour and spatial perception. Transparent and opaque layers of paint overlap into open visual structures in which form is not fixed but stays visible as an ongoing process. Lines function less as contours than as trajectories, connecting different pictorial levels and zones of perception. The works move between construction and dissolution. Colour fields emerge, intersect and disappear behind other layers, forming a visual network reminiscent of light phenomena, reflections, or the superimposition of different perceptual realities. Space is not a static order but a dynamic field in which colour and line continuously generate new relationships. The series marks an important step toward the later drawing cycles, where questions of space, energy, perception and imaginary structures increasingly move to the centre. The series consists of twenty works in acrylic on paper, 100 × 70 cm, made in 2011. Acrylic paint dries quickly and can therefore be layered without softening the coat beneath. Every layer survives as a decision in its own right, and whatever shows through from below is not residue but part of the picture. The format is large enough that the eye cannot take it in with a single movement. One looks for areas and connects them one after another – the picture comes into being in the act of looking. Within the body of work this series marks a turning point. Here the colour field still carries the weight of the composition. In the drawing cycles of the following years the line takes over that role. Placing the 2011 sheets beside the later works makes the transition possible to follow step by step.

Gallery: Transition Fields 2006-2010

Transition Fields 2006-2010

Series, Colored pencil on paper, 32x41cm Places, work and bodies appear as fragments in colored planes, like memories under reconstruction. The series captures the moment when the world becomes a construction and every image is a new transition.

Gallery: Painting

Painting

The early paintings (2006–2010) set the keynote: world as constructed space, in which time, technology, and everyday life interlock. Figures, places, and signs appear like cut-out realities mounted into new dimensions. The painting thinks in transitions, between observation and construction, between surface and depth. Here, the central motif already reveals itself: reality is not given, it is assembled.