Unna (Germany), 1992
WDR Radio Dortmund, June 12, 1992

In case colors are able to have a party, they certainly do so in the paintings of Lisa Lyskava. Ever since the opening, all hell’s been let loose in the large, light rooms of the museum’s first floor. Splash! – a boisterous purple has spread on the large canvas, shooting up now from the bottom straight towards the center of the painting. Its color rivals, orange and yellow, have a hard time to keep up with it – turn green, then blue with anger, and in the end sprawl in sprinkled spots in the purple’s vicinity. But then – oops! – who is this? – from the right side, a deep, thickly applied dark blue has a go at the striving purple – and hardly do the two of them touch, they already become inflamed with each other in the flaring red of fire. Who would have thought that – being against all chromatics. And then – before they could even turn around – the dear red has seized them and, in streaks, is dragging them along towards the center. There, finally, the blue-purple is completely caught up in the romanticism of the deep red. Not for long, though – no time to lose – for the journey goes on across bumpy color mountains, but here – the now pale red has to confess it – it has reached its end: full of cracks and deep fissures, it fades away in the bluish ravines.” But again, red comes thundering down. Sportily, it makes the corner in front of the mountains and, hauling a blue trail behind it, dives to the left underneath a yellow blanket which lolls about lethargically. As a frayed red, it peeps out here and there, only to then lose its orientation completely. Like its color comrades, it describes wide circles, then mingles with the colorful crowd. An experience for the eyes. ‘Solo’ is the title of a painting in which a whole palette of colors has been whirled onto the canvas in a wild blending. The solo of the broad main line, from a little distance looking like a dancing human figure is worth seeing – and so, too, are the countless color courses and their breakings. The painting seems to continually balance between brightly colored chaos and thrilling color dynamism. None of the 74 works of the exhibition appears to be arbitrary. Here, no one has just poured out his paint box and held the blender into it. Lisa Lyskava deals with her paintings like a film director does with her actors: knowing about each of their individual qualities, she lures them out and produces an interaction which primarily benefits the play and its subject. Lisa Lyskava does not play for playing’s sake … The autodidact Lisa Lyskava paints moods, especially extreme emotional experiences, situations, dreams. In doing so, she reduces the environment to color happenings, games of form, and structures that transport these moods:

In the painting ‘Roller Coaster’, dispersed colors are romping about on a yellowish-pink canvas. A broad and restlessly brushed purple seems to vibrate like the according vehicle on its rails. A bright-yellow and a fiery red are racing into each other spraying sparks in a terrific curve drive. A light red is floating on the canvas in bizarre forms, light like a feather. Apart from canvas, Lisa Lyskava also uses wafer-thin paper, cloth and corrugated cardboard. She creases and crumples the materials and glues them together. In the painting ‘Worrying and Hoping’, she has glued a figure that seems like the crumpled paper: strained and inhibited. A figure unable to show its facets, fading away in a sickly orange. Man and his moods. Again and again, his heights and lows are the center of attention… Lisa Lyskava does not need well-known actors. Her own ones, the colors, are so interesting that even after a long and close look they are still good for further artistic surprises.

Ralph Erdenberger, Cologne 1992