1996-98 Royal College of Art London MA Painting
1993-95 Kunstakademie Düsseldorf
1991-95 University of Wuppertal MA Aesthetics
1983-88 Fachhochschule Aachen BA Visual Communication
Lothar Götz has exhibited widely in the UK and abroad.
His solo shows have included Gasworks, 2001; the Chisenhale, 2002; The Economist, 2003; Museum Goch, 2004; Kunsthalle Wilhelmshaven, 2011; The MAC Belfast 2013; MEWO Kunsthalle Memmingen, 2015; Petra Rinck Gallery, Düsseldorf and Domobaal, London, 2016; Group shows include the Contemporary Art Society’s ARTfutures, Bloomberg SPACE, 2005; David Risley Gallery, London, 2007 and 2018; mima, Middlesborough, 2007; and shows in Amsterdam; Dublin; Hamburg; Hanover; Salamanca; Wilhelmshaven and Wuppertal since 2005, including participation in the 2008 Prague Triennale. In Spring 2010 he contributed a major work to an international showcase exhibition on wall painting at the Miró Foundation in Barcelona and in 2017 participated with a specially commissioned wall work in Seurat to Riley, The Art of Perception at Compton Verney.
Public commissions include Platform for Art at Piccadilly Circus Underground station in 2007; a collaboration with Caruso St John Architects at the Arts Council England Offices in 2008 and most recently wall works in the staircases of Pallant House Gallery, Chichester, 2016 and Leeds Art Gallery, 2017;
He has been on residencies in New York, Shanghai, Guangzhou and did hold the Abbey Fellowship at the British School at Rome in 2010.
‘You begin with a dot, stretch to a line and expand to the plane’. Lothar Götz extends this conventional grammar of drawing into the third dimension, claiming the space of architecture as his drawing board. He does so with the precise vocabulary of geometric abstraction, all the while articulating it in his own poetic idiom of color. Götz’s large–scale wall drawings are dialogues with given environments, including foyers, reading rooms, offices or staircases. By spending a lot of time in the given room, the artist reacts to its idiosyncrasies, developing a network of lines between architectural points in space that find their way onto the page: a drawing, a sketch is created. Over time, the lines become a distinct plan, dividing architectural areas into functional, aesthetic or proportional sections. The next step is the development of a polychromatic pattern. Guided by experience and artistic decision instead of algorithms or random rules, the pattern develops intuitively, balancing the underlying, sharply defined geometry of line with an exuberant and joyful show of color. The artist transfers the design onto the wall using chalk and line – an ancient technique applied for modern means. For The London Open, Götz has created Connection, 2015, a mural spanning the entire entrance wall of the historic main gallery. Set at the intersection of different functional areas of the gallery, crossing established boundaries between the decorative and the fine arts and bringing together traditions and contemporary uses of its medium, the work becomes a vibrant, programmatic overture to the exhibition.”
Daniel F. Herrmann, an extract from the catalog to accompany The London Open 2015 at The Whitechapel Gallery, London, ISBN 978 0 85488 241 0