Idylls

And if we look closely, we learn more about ourselves, about the conventions of deciphering landscapes and where the exit is. The essences distilled on canvas give us a little break in a self-created chaotic world that all too often overwhelms us.

Christina Pohl offers ironic idylls as landscapes. These are often a combination of buildings and prepared nature in skilful reduction, distillations, as it were, of available landscape sections in cheerful colours. The parts of the composition are clearly separated by colours and forms and yet form a whole. Sometimes the uncanny flashes up with a wink in these ordered worlds or defoliated trees appear in summery, cheerful ensembles and cause irritation. onventional aesthetic appropriation of designed landscape in the picture is subverted and enables a different perspective and a different light on the familiar.

In a different way, Klaus Schitthelm shows traces of the landscape-like in his pictures. We are confronted with vastness, sky and the painter's point of view, which limits the visible to a horizon. It is an almost tangible and yet elusive closeness that is offered to us. Klaus Schitthelm works with the reduction of structuring elements and at the same time the fanning out of the colour nuances of the material, which reveal themselves to a close look. hen we look at the pictures, we are taken on a journey into another way of seeing. Closeness arises through the recognition of the familiar as a trace in the picture, which is alienated by the appearance of a distance in the landscape-like colour environments.