In his series “Situations“ and “Stills“, Andreas Lau critically questions habits of seeing. What is pictured and what remains concealed? How much information is necessary in order to understand an image? Lau disassemblies his motifs in dots or lines, dissects the depicted into various elements, and therefore encodes the image. The resulting flickering, the undertow deriving from the painting, casts a spell over the viewer right away. It is only on ‘second sight’, that the content of the image becomes depictable.
Lau’s recent series engage with this topic by means of painting, referencing pictorial strategies both from Impressionism and Op-Art. Hereby, the artist questions traditional subjects like the nude or the flower still life. While textual, narrative references take a back seat, the artist is primarily interested in the exploration of painterly means and possibilities, as well as in the associated question of how the genre of painting can be depicted within today’s media-oriented reality. What is it that constitutes the effect and the reality of the image, if it is not only, as Aristotle has already mentioned in his Metaphysics, the sum of its parts?