The first watercolour, in a horizontal format, gives considerable depth to the image through its structure of receding lines, while the second one—vertical this time—presents a closed foreground on the surface, interpenetrated by more or less dilute areas behind it, with a varied pictorial treatment.
Translucent by nature, watercolour painting necessitates sharp concentration and quick execution. Hauri’s creative process involves rotating his medium in order to multiply the painting angles, thus broadening our imagination’s possible entry points into pictures devoid of any human presence.
His use of several types of paintbrush to alter the colour and texture gives a changing materiality to his superimposed planes. Between appearance and disappearance, Hauri’s watercolours never stop pushing the limits of representation, and of the material solidity of rubbed, scraped, worn-out paper.