Michael Peltzer

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*1977 Bonn
2001–2009 Art academy Münster, masterclass Prof. Michael van Ofen
Lives and works in Cologne

Solo exhibitions

2021 Lab, Evelyn Drewes | Galerie, Hamburg
2020 Drive Me Crazy, Evelyn Drewes | Galerie, Hamburg
2017 Beatgirls, Sautter+Lackmann, Hamburg
2016 Still Film, Evelyn Drewes | Galerie, Hamburg
2014 Kintop, Evelyn Drewes | Galerie, Hamburg
Finders Keepers, Kunstraum-Unten, Bochum
2012 Freeze Frame, Galerie Popartpirat, Hamburg
2009 Verschmelzung, Galerie Popartpirat, Hamburg
2008 Heartbreaker, Berliner Salon, Münster
Underdogs, Galerie Hans Tepe, Damme

Group exhibitions

2023 Just Painting, Projektraum studio. curated by Evelyn Drewes | Galerie, Hamburg
2020 Smiley, Evelyn Drewes | Galerie, Hamburg
2019 Nachts Allein Im Atelier #6, Evelyn Drewes | Galerie, Hamburg
2018 Vis à Vis, Barlach Halle K, Mit Evelyn Drewes | Galerie, Hamburg
Just A Two Of Us, Barlach Halle K, Hamburg
2017 Nachts Allein Im Atelier Iv, Evelyn Drewes | Galerie, Hamburg
2015 Nachts Allein Im Atelier Iii, Evelyn Drewes | Galerie, Hamburg
Salondergegenwart 2015, Hamburg
2014 Portraits, Evelyn Drewes | Galerie, Berlin
2013 Junge Kunst, Sparkasse Karlsruhe Ettlingen, Karlsruhe
Junge Positionen, Mit Evelyn Drewes | Galerie, Offenbach
2012 Made In Germany, With Galerie Popartpirat, London
Kollision, Kulturbunker Mülheim, Köln
Lowdown (At The Studio # 1), Atelier Mozartstraße, Köln
Hard Row To Hoe, Galerie Popartpirat, Berlin
2011 Stock Exchange, Dreieckstudio, Wien
Auf Takt, Kunstraum Unten, Bochum
Unordnung Und Frühes Leid, Städt. Galerie Im Rathaus Lippstadt
Nachts Im Atelier, Galerie Popartpirat, Hamburg
2010 Friede, Freude, Eierkuchen?, Galerie Hans Tepe, Damme
Picture Slam, Galerie Popartpirat, Hamburg
Painting Easy - Painting Free, Ausstellungshalle Am Hawerkamp, Münster


The motives in the painting of Michael Peltzer seem to arise instinctively and without plan out of the flowing paint. They happen by chance and without help. There is something becoming apparent which has always been hidden in the potential of the colour. The apparently coincidental moments of the flowingly spreading paint are a kind of primeval mass which enfolds to a scenic whole though limited to a defined area. Through this a state of uncertainty comes to being, which is open towards the abstract as well as representational direction. It is both conflict and cooperation. As harmonizing cooperation the representational is given up, sacrificed for the painterly. The win however is the autonomy of surface, colour and shape. 

The distanced and unfamiliar painting technique, now introduced art historically, creates another moment of a precarious balance of closeness and distance. The canvas lying on the ground, the colours are spread out flowingly. New creative possibilities like ornaments, patterns und representational elements like moving water, passing clouds or dissolving figures are brought to the surface. But especially the busts refuse to work as traditionally depicted portrait. They are dissolving and, reversely, have not yet emerged from the rough mass of paint to a clearly outlined, mimetic shape. Earlier than 1900 the sculptor Medardo Rosso had already developed and perfected / brought to a climax this idea of the “unfinished” in terms of sculpturing.

In this manner two conflicts evolve in Michael Peltzer´s painting: firstly, the all painting underlying conflict of form and content and secondly, the conflict of appearance and reality. An igneous power creating a reference to the outside of the picture by means of the substance of the material: an object, a figure, a landscape. This evokes an own dynamic and a dramatic character of the actually unspectacular objects having come to appearance. The stage of being “between”, of being unfinished is the decisive tensional moment. A moment in this peculiar pictoral world which is bound and due to the conditions of the painting.

Prof. Dr. Ferdinand Ullrich