Vom Relativen ins Absolute

Vom Relativen ins Absolute examines the transition between shifting perceptions and the desire for an order no longer dependent on them. The painting does not formulate this transition as the resolution of all contradictions, but as a movement through them.

Acrylic, oil paint, spray paint, charcoal and oil pastel create a surface in which different speeds and degrees of presence meet. Large gestures open the pictorial space, while lines, deposits and overlays condense it again. Each intervention alters the relation between the remaining elements while continuing to belong to a larger field.

The relative appears here not as a deficiency, but as a condition of experience: perspective, proximity and distance continually shift what becomes visible and meaningful. The absolute, by contrast, is not presented as a clearly depictable form. It appears as direction, concentration and a possibility arising from the interaction of fragments.

Vom Relativen ins Absolute holds both states in tension. The work does not lead to a final image, but to a perceptual space in which multiplicity and unity remain active at the same time.