Schlingheider's exploration of geometric bodies and colour in three-dimensional space does not solely go hand in hand with the concept of a purely visual art.
Instead of existing purely representationally, his objects activate the space around them and reveal unexpected possibilities of perception and meaning.
Aesthetic reduction and powerful minimalist formal language meet in both the steel objects and his paintings.
In a non-hierarchical arrangement of individual modules, painting and sculpture are mutually dependent and seem to flow into one another.
Schlingheider's exploration of geometric bodies and colour in three-dimensional space does not solely go hand in hand with the concept of a purely visual art.
Instead of existing purely representationally, his objects activate the space around them and reveal unexpected possibilities of perception and meaning.
In his paintings, he works with monochrome surfaces that are placed both next to each other and on top of each other, which results in a composition of clearly delineated geometric forms within the various layers.
In the final step, the artist breaks out of the system. Varnish flows over the arrangement, separates the pictorial space, erases, delimits and at the same time opens up new areas.
