Turk's œuvre inspires associations with the great twentieth century masters: the meditative color field painting of Mark Rothko, the abstract blurring of Gerhard Richter, or the warm ambiance of James Turrell’s light installations. In Turk’s paintings color and light form a synthesis; it is not without reason that the artist chooses a combination of oil and egg tempera with which he can create pure, highly luminous, transparent surfaces with a silky sheen. The paint is applied in such a fine liquid form that the individual layer is hardly visible.

Turk captures the light with a subtly-coordinated abundance of color and luminosity values. In the lower half of the paintings, various light glazes of blue and yellow hues cover the reddish brown color underneath, charging the picture atmospherically. The horizontal center of gravity attracts the viewer’s attention, but is not able to hold it for long because the bright surfaces with their subtle color create a movement that is always felt despite the calm impression. While looking at the paintings with a meditative reflection the surface begins to float. The picture can, without any doubt, exist as an autonomous color field painting, even if it originates from nature: Armin Turk’s point of departure is the landscape. Like the Romantic painters Caspar David Friedrich or William Turner, he saturates landscapes so intensively with light and color that the sensitive viewer is captivated by a sublime emotion which draws them into the light of the painting.