Pump up the color

Analogous to sampling in music, the artist puts together a visual mash-up in his works. Fragments and set pieces become a new whole whose meaning is configured by the viewer himself: Art-historical quotations and contemporary references are aesthetic or conceptual pointers without index fingers. In his painting, it is not a matter of a coherent, coherent offer of meaning, but rather of an 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 coincidence, chaos and plurality at the same time or even brings together incommensurable things.

L. G. takes us into a world of images that originate from his everyday observations and experiences, perhaps sometimes even dreams or transfiguration: urban spaces, films, tracklists, comics, video games, pop and club culture. In recent years, he has increasingly departed from the canvas; tiles, photo and woodchip wallpaper, mirror tiles and foils, wood or glass have become the medium of 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 necessitates a "space-gripping" of his painting, which is not limited to hanging on the wall anyway - 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 perspective. He does not want to explain it to us, but as so often in life, well-posed questions are more illuminating than precise answers.

(Peter Ungeheuer)