Matthias Weischer’s paintings explicitly show the falsification of their illusion. In Familie O-Mittag, Weischer doesn’t create a room, but rather a complex system of intersecting rectangles. Here, the floor, window, wall and hearth exist as separate planes: the representative scene functions as a coincidence of their proximity. This geometric breakdown is extrapolated further in the bricks, tiles, picture frames and plant pots, dissolving the image of a room into an obsessive hallucination.

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