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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.