Wolfgang Paul The Evolution of the Straight Line (An analysis of the pictures of Christian Wulle) "The state of hope is the most meaning of sense for me." With this conviction Christian Wulle comments upon his work, his request. The more one gets himself embarked on his pictures, - without interpreting them otherwise - the more effectively this condition can be found. At the first sight seeming monotonously, the persistence bordering on doggedness reflects hope, shows a clear line, a direction. Wulles way starts below on the left and strives up to the right side. A life principle? The strive of an artist who doesn't differ from, who has decided in favor of color and form in any case. One feels it inevitably: Enthusiasm or discomfort; Wulles stripe pictures and wooden rod light-objects are demanding a reaction! Enthusiasm to whom, who has rediscovered a rare virtue, or discomfort to the one who shrinks from this virtue. Consequence which gets visible here as a challenge and but clear is meant. In these pictures nothing is in secret, nothing is veiled nebulously or released to the interpretation, this exactly makes it so fantastically and at the same time "uncomfortably". Wulle confronts us by his work with character traits which the "normal life" sees leveled off prefer. The observer is demanded, because Wulle himself is requiring. His style is straight; and the colors are chosen clearly because they are part of this line. What shall the taste think of it? The question forces to a personal statement, because the pictures don't permit any excuses into subjunctive. Wulle is "concrete", an artistic design engineer of his philosophy. He cares for all about the load-capacity of his line which he permanently develops further and strengthens it without losing it through concessions. He forms his thinking to an opinion object and this in arbitrary variations within a legitimacy in which only the essential gets a place. The result leads to astonishment! In spite of the concentration and reduction, despite of all self-restraint - or therefore straight because of that -, visual effects arise: Non-existent colors are playing in different colours, dead straight lines bend themselves and areas seem to take room. With a superficial philosophy it isn't possible to meet those pictures; form and color developing an independent existence, each confusing and seducing them in a special way. What we, however, discover if we leave the "load-bearing tribe" are the game forms of an evolution, a large number of species, that the artist develops us for himself and the observer. The apparent monotony "at the first look" becomes a general impression, bundled by variety and variation. In the "concrete" one up to its latest radiate pictures its development can be pursued and comprehended starting out from Wulles initial tests. We have exemplarily here in front of eyes the observe of rules and the respect of limits - the restriction of the expression means that not at all. On the contrary, his evolution is "forward and "up", in accordance with his principle. [Wolfgang Paul, 1996] Start