(born 1968 in Radeberg near Dresden) GP 62 (Hole), 2003, titled, signed and dated Scheibitz 03, vinyl, gouache, pigment marker on canvas, stapled to supporting cardboard, 213 x 157 cm, framed, (PS)

Provenance: Galerie Sprüth Magers, Berlin „The pictures by Thomas Scheibitz that I know are crystal clear in their execution but mysterious in their construction. Sometimes there is a theme, for example the façade of a house, although such a theme does not define the painting itself. Far more important is the manner in which the theme creates space for all sorts of other figures in a loose summation of fragments. (...) However, it is the colours which are most surprising, reminiscent of the fragile, brilliant colouring of Saxon porcelain painting. Lightly applied, the colours remain unchangingly transparent. This transparency brings an abundance of light into Scheibitz‘s paintings. They are defined by this light - and I believe that their simple, formal composition serves to bring the mysterious effect of the bright colouring to full fruition. (....) They are paintings, the like of which I have never seen before, a new generation of visual forms. From time immemorial, since the beginning of their existence, the pictorial world of paintings has been linked to the cosmos, earth, nature and also gravity. On the surface, the paintings - even when as delicate as those by Tiepolo - are held in place by their own density and weight. This form of weight, in the sense of an inner solidity, does not exist in the works of Scheibitz - as if the connection with reality flowed over a mirror. The pictorial world is a floating reflection; Fata Morgana. Or; the kaleidoscope is actually a quivering, humming, luminous screen - the weight dissolved into millions of pixels, and so uprooted and new.“ (Rudi Fuchs, in: Exhibition catalogue Stedelijk Museum Amsterdam, Thomas Scheibitz, Bannister Diamond, Amsterdan 6.10.-2.12.2001, page 3f)