oil on canvas, each painting 20 x 20 cm,  ongoing series

 I make abstract and figurative paintings; visually and conceptually there are inherent contradictions within  these two strands of my practice; however, they have a symbiotic relationship and paintings are often made alongside each other. Richter talked about inconsistency being a consequence of uncertainty, but also ‘inevitable and necessary’. (1)
I think this notion of uncertainty/inconsistency has become a basic premise of my work,  which parallels autobiographical events and there is a spirit of contradiction which is at the heart of my work.

In this recent work I refer to abstract paintings which I was making between 1998 and 2005 where the circle acted as a compositional device. The paintings  adopt some forms from earlier art movements, for example, the monochrome ground, the serial forms and the  improvised gesture , but these are subverted - the forms are not uniform, the expressive mark is not arrived at from a 'dramatic gesture' but is treated in an analytical manner, an attempted copy from a previous image. The small scale of the paintings is an antithesis to previous large  abstract expressionist paintings.  The starting points for the work are paintings on paper made with spontaneous painterly invention.

 

Sometimes the paintings are reminiscent of something which is just out of reach, and there’s an awkwardness  which might be to do with the juxtaposition of colour or the composition or the feelings of uncertainty which permeate the making of the work .  

 

 

“The creation of new forms is a contradiction in terms; you can’t create new forms from scratch. But I feel most happy if I get the feeling that I’m close to the edge of inventing a new form. You are in between a memory and a first, surprised version.” (2)  Thomas Scheibitz

 

1.  Gerhard Richter interview with Sabine Schutz 1990
2.  Thomas Scheibitz Frieze studio visit, video interview on Vimeo 2013