Matthias Reinmuth, Stephanie Stein: fold

Matthias Reinmuth’s paintings create an open gape through which time and space are eliminated and gravity appears just at the edges, as the canvas meets the real volume of the exhibition space. Spherical or ethereal, the layers and layers of paint become gestural and seemingly liquid. Narration disappears, causing the viewer to seek a stabilising anchor. The soul searches for embodiment. The body searches for a soul.
Western philosophies have long struggled with the separation of the physical and spiritual, as well as the question of how they connect. This hinge could be the point from which world, awareness and meaning spring forth.
Gilles Deleuzte describes physicality and psyche as being interwoven, folded. Where one nestles into the other, folds appear. The two different states blend into each other.
Stephanie Stein’s works intervene in the exhibition space, include floor, walls and volume and claim the context as a legitimate part of their existence. As objects they seem to be part of a sign system that does not reveal its semantics and readability. In correlation to their surroundings, the works of Stephanie Stein develop their physical presence as well as a narrative content. An open angle or a closed circle refer to the constant conditions of human perception. Precisely defined surfaces indicate a mechanical theory on space and reality.
The paintings by Matthias Reinmuth and the objects by Stephanie Stein are united in a programmatic and determined openness that precludes a quick clearness and affirmation. The hinge connects and allows movement. In the fold, surfaces meet and become volumes. This is the point where perspectives start to change and things un-fold.