ARTIST:

Thomas Scheibitz

Douglas
Thomas Scheibitz

Working from found media images, Scheibitz takes his subject matter from the empty and idealistic scenes of consumer culture. Deconstructing the original images into abstracted components, Scheibitz's paintings become design-oriented simulacra: architectural blueprints for themselves. In Douglas, Scheibitz paints a kaleidoscopic distortion of suburban pleasantness, a kind of twenty-first century cubism that references virtual reality as much as painting

Dubai
Thomas Scheibitz

Set against a grid-panelled background, Thomas Scheibitz's ‘bud' takes an idealised mechanical form. The painting is less of an aesthetic arrangement than an invention whose sole function is desirability. Dubai is a sublime logotype: a composite of pecuniary and devoted perfection. The utopian aura of architectural design shows the drips and inconsistencies of the artist's hand: vision and making are flaunted as values of luxury, painting as the most efficient medium of transaction.

Untitled
Thomas Scheibitz
Untitled
Thomas Scheibitz
In Untitled Thomas Scheibitz deconstructs a suburb in all its prefab glory. Breaking his painting down into compartmentalised units of colour, the effect is far more sophisticated than folksy faux naïveté: he uses painting as the human equivalent of digital compression.

Stripped of all extraneous detail, he renders the scene as pure codified information. Thomas Scheibitz doesn’t offer a representation of reality, rather, a universally recognisable idea of it, reassembled into digestible shapes and hues.
Skilift
Thomas Scheibitz
Skilift boasts a Cezanne-like mountain as if it were captured straight from cyberspace, the glass-panelled lodge as unnatural as a spaceship. There’s nothing clean or precious in the way Thomas Scheibitz renders his subjects: painterly gestures and drips are used to create mirage-like effects. The paintings revel in illusion over representation, not symbolising ‘subject’ but pure desire.
Anlage
Thomas Scheibitz
In Anlage, Thomas Scheibitz’s shapes and lines compete for visual prominence. Through maze-like composition, he creates an architecture of illusion where depth, height and perspective are implied through planes which make no attempt to conceal their flatness. He uses an intricate system of overlapping to create spaces within spaces.

Drawing reference from artists such as Joseph Albers, Thomas Scheibitz adapts the Utopian principles of Bauhaus and constructivism in a contemporary way. Subtlety of colour and sophistication of design imbue his composition with functionality: of aerial photography or engineering blueprint. Through abstraction, Scheibitz dissects the virtual infinity of space and replicates its subliminal nature as two dimensional paradox.
Untitled No. 242
Thomas Scheibitz
Untitled No. 242
Thomas Scheibitz
In Thomas Scheibitz’s world of synthetic replication and commodity signifiers, even people are reduced to ideologically pragmatic form. Sparingly represented as flat cap and box ears, this figure meets all the requirements for the role of ‘sad professor’.

Thomas Scheibitz renders personal intimacy as a function of caricature, where visual description is inextricably entwined with stereotype and expectation. Through his simplified portrait, Thomas Scheibitz doesn’t proffer dehumanisation, but a super-race streamlined for instant identification and hypothetical interaction.
Funny Game
Thomas Scheibitz
Often working from doodle-like sketches, Scheibitz carefully maps out his compositions to create an order in space that seems both mechanical and biotic. Funny Game I is less an abstraction than an inkling of an abstraction in the making: thin washes create a dreamy sense of movement, a noncommittal translucent ground that evades concrete form. Exposing the process of artistic invention, he offers the viewer only fragmented suggestions, in which logical patterns or an insinuated subject might appear.
Rosenweg
Thomas Scheibitz
In Rosenweg Thomas Scheibitz doesn’t paint a subject, but offers a panoptic view as a solidified whole. Adopting the flatness of medieval painting, perspective is delineated through overlapping layers and scale. Flower, building and mountain integrate as an abridged version of space, a synopsis of grandeur.

Thomas Scheibitz presents the sublime as an algorithmic formula: mysticism denuded into a composite of shapes and patterns. A super-modern reinvention of the romantic landscape, Thomas Scheibitz creates a sense of awe not in the picture itself, but in the graphic simplicity with which such an overwhelming concept is inferred.
Brillux
Thomas Scheibitz

Working in both painting and sculpture, Scheibitz's reference points are often architectural. His organic forms and sharp angles smack of high design. Suggestions of location are found in patches of shrubbery green or sky blue. Working in washed-out pastel colours, his paintings seem to have faded through continuous exposure to the California sun.

Installation shot
Thomas Scheibitz
Kromp No. 124
Thomas Scheibitz

Subject matter for Scheibitz is merely motif, a coincidental starting point for futuristic design. In Kromp, his flower-like form has been metamorphosed into a prototype that fits more ergonomically into contemporary conscience. Starting with a simple generic reference point, Scheibitz creates a vision where nature and technology meet: a better, synthetic concept of reality where the commonplace is reconstructed as a glamorous commodity.

Souvenir
Thomas Scheibitz

Scheibitz's still life bauble is represented in the most abstracted terms, the compositional elements replicating concepts of distance, memory, and sentiment. Angular shapes float in rhythmic disorder encapsulating the curvaceous harmony of the globe. Inside the sphere, the dreamy spaciousness of the surface takes more concrete form. Like a painting within a painting, Scheibitz creates multiple planes of contemplation and projection. Using this contrast tocapitalise on the tension of distraction, he suggests the futility of daydream escapism; his sombre colours both disorienting and melancholic.

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