"An exhibition connects very different things: the audience, the room, the works, and time. In the new show, I use all rooms in the gallery. The layout has three parts, and everything is open and circular. You can go in an infinity loop, where the central room is the intersection. The show has a center, but it doesn't fold around the center."
"Each work has a lot to do with connection, too. The paint tubes in the studio [ Creative Act (Paint tube), 2025] are embracing each other, as are the horses [ The fantasy of a highly potent creative act with little participation of human mankind, and the sheer multitude of packages that fly back in return, 2025]. The painting of a giant electrical socket [ Where the energy comes from, connected, 2025] is a symbol for being constantly connected, even if ultimately just with yourself."
"I like how the socket comes together in the first room with my painting of the big camera [ Creative Act (Camera), 2025]. They are visible from the street, and then something completely different unfolds when you go inside. I have painted both of these motifs before, but have never shown them together in one room. Just color- and technique-wise they're extremely different from each other:"
The exhibition occupies all gallery rooms in an open, circular three-part layout that allows visitors to move in an infinity loop with a central room as the intersection. Each work explores forms of connection: paint tubes embracing, horses paired, and a giant electrical socket symbolizing constant connection, even if only with oneself. The show repeatedly questions the origin of creative energy and treats energy as inherently about connection. Paintings employ diverse modes and techniques—acrylic versus oil, brush versus airbrush—and juxtapose motifs such as a reversed camera and a socket to create contrasting visual and emotional registers.
Read at Artforum
Unable to calculate read time
Collection
[
|
...
]