Matthias Weischer conceives his painting Wurm as if it were a sculptural assemblage. Weischer treats the paint as a construction material: thick impasto is carved into, painted over and chiselled back again; other areas trail off into thin ephemeral drips. His log cabin and scattered debris take on a clunky, rustic form, their implied weight and physicality undermined by the persistent awareness of the painting’s battered surface. The three pronged abstract shape is revisited in several of Weischer’s paintings, such as Familie O-Mittag . As if part of a stage set, Weischer’s forms become recyclable props, implying an inter-relating continuity between his imagined spaces.

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