Like Goepfert and other contemporaries, from the mid-1950s Megert created material and structural images. In 1961, the artist–well-known for his mirror objects–formulated in his manifesto a new space his lasting artistic intention of creating 'a space without beginning or end'. Similarly, the light art of Christian Megert (b 1936 in Bern) is brought alive by interaction with its surroundings. His kinetic aluminium reflectors were designed to intercept and reproduce the light in the room. He then replaced the three-dimensional painted structures with metal insertions, later also exchanging the canvas for metal.
During the 1950s, Goepfert, who lived in Frankfurt am Main, had begun to reduce the use of colour in his works, ultimately creating pure white grounds with small convexities in order to illustrate real light as reflection. 'Light is form', was the credo of Hermann Goepfert (1926-1982), who aimed to render visible the aesthetic quality of light–particularly of natural light–through preformed instruments. In the exhibition Appearance of Light – a Post-War Perspective, Galerie Dierking, on the Paradeplatz in Zurich, presents works by Hermann Goepfert and Christian Megert together with experimental photographs by Kilian Breier, Peter Keetman, Ferry Radax, and Otto Steinert, illustrating avant-garde trends of new pictorial aesthetics in various media after 1950.
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