The artworks of Emanuel Mooner transform remains, remnants, scrap to art. His Objets Trouvé consist of two elements: neon tubes, which once adorned decal plaques and deformed car body parts of accident vehicles. Both elements can no longer be assigned to their original purpose, but their spontaneous form is intended in the combination. Incomplete character parts are mounted on the body of a car accident and illuminate the dented and scarred surface.
The bright neon tubes evoke quite contradictory ambitions: on the one hand, they remind the viewer of their original purpose, of their earlier existence as glaringly illuminating symbols of our consumer society; on the other hand, they change perception and leave new forms and structures behind the light. This results in an aesthetic of industrial appearance, in which the form of no function can be assigned.
Concerning the artworks of Volker Behrend Peters, light plays a central role as well. His delicate work, consisting of paraffin layers, is fragile and breaks the light in its transparent structure. The waxy ramifications are built with the brush, which determines the shapes and patterns by varying the pressure and the direction. The more light falls on the paraffin structure, the more dense it appears and in the end it seems almost white.
The filigree, almost sculpture-like works of Peters, spark new ideas and perspectives in the recipient’s mind, sensations are aroused, and it gives space for individual interpretation. The technology serves the communication, the unusual material and the seemingly spontaneous design surprise and inspire. Can intention be put into words? The intention is the formation of wax that the viewer sees and feels and recognizes: the image.
Reality and veritableness are abstract concepts. They vary from person to person and can even be completely contrary. When a group has a common reality, it is created by communication and definition, by common convictions and views. Reality doesn’t just exist, it is constructed and represents the interior of a group, a society.
Katharina Lehmann takes up this construction of reality in her objects. Her thread-drip painting technique produces organic structures from threads and acrylic paint. The tissue that the artist creates, forms the basis for the three-dimensional artworks as well as for the works on paper and canvas. The natural, chaotic element is being symbolized by this technique; coincidental connections and incidents that shape our reality and perception.
In contrast, Lehmann puts geometric lines connecting the junctions of the tissue - the attempt to bring order into chaos. Appointments and plans are expected to force reality into a grid; trying to move from point to point and blinding out being always subject to natural chaos. The mass of the organic structures prevail the clear lines constantly. At the same time, Lehmann creates the reality of the viewer; she gives him a point of friction and a starting point for impressions, opinions and thoughts about his own reality, but also about the reality of the artist herself.
Jürgen Heinz abstracts reality and veritableness a bit further and destroys the expectations on his material, the steel. The metal otherwise used in the heavy industry is alienated from its usual use and reversed to the contrary. Heinz creates movable, futuristic sculptures which are as far away as possible from bridge construction and reinforced concrete. The modular work like "interface" or "people" reminds of monuments, they change space by their mere presence. Simple forms, constructed of mobile modules and divided by cuts, form a fascinating order, from which one can’t withdraw. One is attempted to put the sculptures straight, complete the forms and remove the asymmetries, and yet feel that these are necessary for the special attraction of the steel constructions. Even these forms and patterns are only constructed, they keep the steady state of orderly chaos, and between the steel modules of "interface" space remains - from which we form our reality. The Space Within is ultimately the space in ourselves.