“All are lapidary. Coincidental resemblances to such objects and figures as arches, gates, tables, spheres, hemispheres, and crescents do occur, but such forms are not symbols. Rather, they are newly invented primal shapes without encoded messages. It would be erroneous to associate the flow of their lines with, say, a window or a bridge.” 23
“one is tempted to consider the lapidary shape as only a fragment. As in the watercolors with flowing lines, the “simple” compositions are neither symmetrical nor centered; the large shapes are often cut off by the edges of the papers on one or both sides, giving rise to an impression of arbitrary limits.” 24
“The color extends out across the ground like breath.” 25
“Even though she would not go as far as Beuys, who assigned to colors a specific archetypal symbolism informed by his own personal mythology, his conceptions can serve as a guide to her far more forthright notions. Frecon’s earth reds that absorb light are the very ones seen in prehistoric wall paintings in the caves at Lascaux. For her, pigment does not undergo any sort of transubstantiation as it does in Beuys’s work.” 25; “Beuys applied color in an opaque manner. For him, color transformed itself into skin, became corporeal. That the transformation was intended is documented by his statement: “Brown is a very heavily muted red, the desire to be solid. Brown is earth and primal red that has built up, earthy warmth, dried-up blood.” 26
-Matthias Frehner on Suzan Frecon.