Analogous to sampling in music, the artist assembles a visual mash-up in his works. Fragments and set pieces become a new whole, whose meaning the viewer configures himself: Art historical quotations and contemporary references are aesthetic or conceptual finger pointing without index finger. His painting is not about the coherent, cohesive offer of meaning, but about the individual approach, in which the perspective of the artist and the viewer do not have to coincide. This thoroughly postmodern approach creates space for a play with habits of seeing and thinking, which allows for coincidence, chaos and plurality at the same time or even brings together incommensurables. L. G. takes us into a world of images that springs from his everyday observations and experiences, perhaps sometimes dreams or transfiguration: urban spaces, films, tracklists, comics, video games, pop and club culture. In recent years he has increasingly taken leave of the canvas; tiles, photographic and woodchip wallpaper, mirror tiles and foils, wood or glass become the support for his painting. And, because he is particularly interested in subculture, the places he recreates are often as morbid as they are trashy, and his constructions are made of conventional industrial goods. The nature of the self-built objects thus conditions a „spatial grasp“ of his painting, which in any case is not limited to hanging on the wall - sometimes even the exhibition visitors are invited to (co-)paint. Perhaps to show us that his world is actually one that we rediscover with our eyes from his point of view. He doesn‘t want to explain it to us, but as so often in life, well-posed questions are more illuminating than precise answers. 

Peter Ungeheuer