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19.09 - 16.10


For his most recent works, Marco Reichert uses a self-built machine with which he creates a new, technologized approach to classical painting. In an open system, the artist uses a computer to enter coordinates that give the painting machine line progressions, which are then applied to the canvas with oil paint. The collective of black lines results in an organic block form in the paintings. Its shape remains purely abstract and leaves room for associations.

The linear shape creates a moiré effect, which makes the artworks flicker and thus sets them in motion. It involves the viewers into the works and directs their gaze to the surface of the canvas. Reichert additionally works on the canvases himself. Sometimes he enhances them with coloured areas. Sometimes he metallizes parts with the help of chemical chrome plating. Sometimes he adds further lines. The interventions change and expand the surface of the canvas. Matt, shiny and partly reflective surfaces are created, which interact with the original material of the canvas, the linear pattern of the machine and the artist‘s interventions. The layers of images created by the material overlays evoke a physicality and spatiality of the works, which influence the effect of the materials Reichert uses and which can be directly experienced by the viewer. Both the chemical reaction processes and the interaction with the machine lead to interferences in the artworks. The line is not always straight. The colour gradient is not always perfect. The metallization is not always applied entirely. This results in visual effects such as oxidation. As a painting tool, the machine in particular represents a component in the artistic creation process of the art- works, giving the creation of the work an unplannable momentum over which the artist has no influence. The painting robot executes the artist‘s commands independently and thus acts as an image generator.

An interrelationship between man and machine is created, which has a fundamental influence on Reichert‘s paintings. Consequently, each work underlies a technical and sometimes also a chemical process. The activity of the artist experiences a moment of passivity and creates space for a coincidence.

Peggy Schoenegge




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