"Traces to Nowhere" at Lehmann Maupin
Hong Kong Tatler
By Christian Barlow
Traces to Nowhere is Matthias Weischer’s Asian exhibition debut and he demonstrates his ability to examine to balance between chaos and harmony, situating his works at the intersection of the realistic and the imagined.
Weischer is known for his association with the ‘New Leipzig School’ – a group of painters who have risen to prominence roughly a decade after the fall of the Berlin Wall. Weischer was originally schooled in classical painting techniques but has developed two conceptual approaches in his practice that are attuned to identifying the scope, importance, and historical meaning of painting as a medium and system of representation.
His work explores his depicted spaces in greater detail, disrupting any superficial harmony and exposing the disorder that exists directly beneath the surface. Accentuated by his collage-like approach to constructing imagery, Weischer challenges how viewers perceive space with patterned walls that give way to unexpected views of interiors and fragments of truncated spaces, reaching past logical boundaries.
In Traces to Nowhere, Weischer’s work is more spontaneous and poetic with the incorporation of landscape and natural elements. While he continues to paint with forced perspective, the inclusion of singular, flat elements that appear to be floating in the picture plane add another level of complexity. Weischer utilizes these figurative forms to explore new ways of harmonising the relationship between objects and space within the pictorial plane, a strong start to what is sure to be his first of many exhibits in the region.