Marco Reichert (Berlin, 1979) lives and works in Berlin. He studied painting at the Kunsthochschule Berlin WeiBensee and information technology at Humboldt University. The dominant inspiration that guides Marco Reichert in the conception of his non-figurative works...
Marco Reichert (Berlin, 1979) lives and works in Berlin. He studied painting at the Kunsthochschule Berlin WeiBensee and information technology at Humboldt University. The dominant inspiration that guides Marco Reichert in the conception of his non-figurative works is nature. He photographs details of organic elements, such as wood, where one can observe the repetition of curious geometric patterns. Overall, the image has different textures which appear unpredictably making each piece unique. The concept of unknown is an element that fascinates Reichert.
Is it not this fascinating and attractive discontinuity that gives us a glimpse of possibility? [...] You see, in these silences in which things abandon themselves and seem close to betraying their last secret, sometimes one expects to discover an error of Nature, the dead end of the world, the ring that does not hold, the thread to be unraveled that finally puts us in the middle of a truth.[...] These are the short and very effective lines I refer to and which seem to me to be able to best translate that condition of fallibility, where the error, the deadlock, resembles, rather than damages, the resumption of a restrained breath, an opening that activates thought. Paradoxical as it may be, in this discontinuity, in this moment, I see all the humanity of the creator of that mysterious pictorial vehicle, always used as an instrument of contemporaneity and never as the artist's alter ego. I feel, in short, that the paintings on display emanate an authentic creative energy that expresses itself in new ways.
Is it not this fascinating and attractive discontinuity that gives us a glimpse of possibility? [...] You see, in these silences in which things abandon themselves and seem close to betraying their last secret, sometimes one expects to discover an error of Nature, the dead end of the world, the ring that does not hold, the thread to be unraveled that finally puts us in the middle of a truth.[...] These are the short and very effective lines I refer to and which seem to me to be able to best translate that condition of fallibility, where the error, the deadlock, resembles, rather than damages, the resumption of a restrained breath, an opening that activates thought. Paradoxical as it may be, in this discontinuity, in this moment, I see all the humanity of the creator of that mysterious pictorial vehicle, always used as an instrument of contemporaneity and never as the artist's alter ego. I feel, in short, that the paintings on display emanate an authentic creative energy that expresses itself in new ways.
