Michael Biberstein
New Paintings

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Michael Biberstein's 11 Formats scan the breadth of his most recent works. Some are presented in extreme horizontal format, suggesting space and distance, some are vertical formats, which use their sfumato-like air and light impressions to recall something the viewer had long thought lost. The immateriality of his increasingly abstract paintings exude a quiet strength. His initial landscapes which were obviously reflecting on the influence of Chinese painting have almost completely dissolved. Faint shadows are the only reminders of elements of landscapes such as mountains, rivers or lakes. In a manner reminiscent of Turner, Biberstein reduces his compositions to the motifs of fog, smoke, air, light and clouds.

Titles such as "Prospect", "Big Wide" or "Impression" are leading the viewer into a dimension so far only familiar from landscape painting. Biberstein extends the topos of landscape to include the universe. "Attractor", "S-Glider" or "CC Compressor" insinuate the world of nuclear or astrophysics.

The absence of sharp contrasts reminds us of the unfathomable; distinct non-descriptiveness leaves the viewer to do the guesswork. The refreshing emptiness and mental freedom in Biberstein's paintings result in a contemplative air.

The exhibition title Unification Theory Part 2 (Unification Theory Part 1, Galerie Christina Guerra Contemporary Art, Lisbon, 2004) reflect Biberstein's private interest in philosophy and his efforts to incorporate immaterial values into his work.

His paintings, which in the past have been mostly monochromes, now afford increased estimation to the power of colour. Light, pastel colour spheres in pink and yellow tinges remind us of the skies of baroque ceiling paintings, though Biberstein is not interested in this kind of illusionism. These landscapes are not informed by immediate observation of nature but rather are carriers or messengers of internal imaginations.