The artist’s choice of subject riffs on his memory of the inhuman but fascinating spatial energy where he first encountered this imagery. “When I was young… the industrial area I lived in [Northern Germany] inspired a sculptural and mechanical outlook more than a painterly one. If I were to write a novel about this area I would call it ‘The Region’… At an early age I subconsciously perceived this industrial environment as sculptural”. Exploring the formal potential of the car and bending its natural anatomy, away from any predetermined functional sense, became a central preoccupation for the artist’s imagination.
Skreber obsessively painted cars wrapped around poles before moving onto the real thing. “Although I was satisfied with the paintings, I wanted to go closer to the material reality of my subject. I started thinking about a simulated crash, which was staged according to my sculptural vision… While making these works my concern was not at all about accidents but rather to use a massive and completely real transfer of energy as an opening door to a perspective on the flow of physical laws and metaphysical energies, loading and unloading, transforming and retransforming like batteries or spiritual bodies.”