Eckehard Fuchs’ depicted subjects occupy the intersection between observed human behaviours and an imagination pervaded by nightmares, sex and estrangement, a vision which has been formally trained by diverse impressions of visual codes throughout art history. The lavishly expressive Romanesque and early Gothic sculpture as well as the exaggerated caricatures of William Hogarth’s prints offer points of reference.

With his figures, Fuchs investigates interpersonal interactions. Visual tales are populated by characters that serve as ‘wildcards of human patterns of action’, at times well-disguised. Dwarfs, giants, grey-bearded heads on childlike bodies, as well as beings with torsos of mythological creatures could all originate from a faraway fairyland, whereas the compositions as well as the buoyant colourful palette could just as easily refer to the world of comic books. In his paintings, a paradoxical mixture of intimacy and distance emerges from the pool of motifs, corresponding formally to the characters’ various states of attraction or repulsion. 

Johannes Schmidt

There is a forlorn life at the periphery of things, where the disenfranchised hanker to be seen and not seen, to be known and not known. This is the subject matter of the painter Theo Boettger, who by the frangible means of watercolour and ink wash evokes the mental and emotional territory of the forgotten …

However, the sources for Theo Boettger’s works are not preskriptive, and they are not intended as transcriptions of precise events that have taken place. There is no desire to be a social realist in the commonest of senses, but they are a means of personal identification engendered by the accumulate of many different personal sources, an impulse that forges and maintains the artist Boettger’s sensibility.

Mark Gisbourne

The group exhibition Media in Transition was curated by Georg Spielhaus and Hamish Morrison and presents a selection of work from five international artists who use a variety of newspapers, magazines, postcards and advertising brochures as their starting materials. In a twisting and combining of worlds collected paper and cardboard is saved from the rubbish bin or back shelf and given new life and meaning. News and advertising, images of materialistic and sexual desire is contorted, reduced or transformed, often leaving the observer little thought for the transitory existence of a newspaper or magazine or its original message.

Tom Gallant (England) studied at the Camberwell College of Art and Design. Much of Gallant\'s work examines the rise of the collector and decorative craft in the Victorian era as well as exploring the notion and history of pornography. For this exhibition Gallant presents a new work in the form of a diagram of a Dewalt power-tool using pages from pornographic magazines which are cut with extreme precision and in so doing fuses two disparate worlds, entangling graphics and

Hans Hemmert (Germany) studied in Berlin and London. A member of the group Inges Idee his works explore human interaction with abstract sculptural form. Producing a paper-model Cathedral from Louis Vuitton advertising material Hemmert provokes amusing thoughts of religious advertising, as well as the linking of human and architectural form.

Using the ubiquitous free postcards found in cafes, Stefan Kübler (Germany) creates pictures by cutting several cards with the same motive and reassembling them, forming entirely new fields of depth and form. The collages are often painted-over bringing a new solidity, playing with focus and unfocus, reality and unreality.

For many years Jón Laxdal (Iceland) has worked with material he has collected together in the form of newspapers and other sundry printed matter. Himself a writer, text plays an integral role in his collages, often being carefully chosen after long consideration with the original and what they sort to communicate.

Berlin-based artist Tommy Støckel ( Denmark) studied at the Royal Danish Academy of Fine Art in Copenhagen and produces collage, geometeric sculpture and installation of p Using the yellow pages or pages from toy-model catalogues he filters out their commercial status leaving the remaining imagery to be choreographed into something futuristic.