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Now, “by nature” there is no object in the world that could be half motorcycle, half drum kit. Technology will also be wary of building something that cannot be of any use. Reiter's thing is the disruption of naturalism. His works therefore also contain polemics against any conventional depiction guided by a sense of reality. So you see again that art comes from "artificial", that it has its own rules (ie: its own possibilities) and that its purpose is not a use. This is not to say that it is useless: the expression of joy, even of obsession, is indispensable because it says that a person on earth could be helped after all, and at least that
not everyone has to be unhappy.
The expression of joy competes with the sense of reality. The materialized mix of motorcycle and drums has something of the way dreams assemble their own reality. Dreams (like myths once were) are not unreasonable. They are rational in a different way, and art is the socially granted and permitted opportunity to work with (and for) this other reason.
Last but not least, Reiter's way of working is anchored in his personal life. The artist edits, sublimates, but also coarsens and dramatizes experiences he made along the way. His art does not calculate coolly, but the emotional, the "expressive" moment is one of its characteristics.
The motorcycle drums (or motorcycle drums) testify to this and the original expressive honesty of rock and roll is a utopian motif of this dream work. If one looks at Reiter's work, one encounters another motif that is not unfamiliar from dreams: skins and hair that touch one's skin in Reiter's art.