“Figurativeness”, Thomas Scheibitz (*1968) declares, “is the only single necessity for my work.”
And yet his sculptures and pictures, which hark back to architectural details or typographical elements or to his own collection of prototype illustrations and texts, allow only a vague association to what has gone before. Since Scheibitz reduces the picture motifs to signs and mounts them in a new composition, they are more apt to recall the decompositions of analytical cubism. He avoids any fixed configuration of the picture plane, allowing the different sections to take up an interrelationship according to related or contrasting colors, whereby a horror vacui is often the result.
The publication, in which the range of his paintings, drawings and sculptures are introduced in reproductions, allows a look into the world of the artist’s motifs and recapitulates the way his work evolves.