The works of Emanuel Mooner make remains, remnants, scrap, art. Its objets Trouvé consist of two elements: neon tubes, which once adorned decal plaques and deformed car body parts of accident vehicles. Both elements can no longer be assigned to their original purpose, but their spontaneous form is intended in the combination. Incomplete parts of the letters are mounted on the body of a car accident and illuminate the dented and scarred surface.
The bright neon tubes evoke quite contradictory ambitions: on the one hand, they remind the viewer of their original purpose, their earlier existence as glaringly illuminating symbols of our consumer society, on the other hand, they change perception and leave new forms and structures behind the light , This results in an aesthetics of industrial appearance, in which the form of any function is no longer to be assigned. For the works of Volker Behrend Peters, light plays a central role. Its delicate work, consisting of paraffin layers, is fragile and breaks the light in its transparent structure. The waxy ramifications are built with the brush, which determines the shapes and patterns by varying the pressure and the direction. The more light falls on the paraffin structure, the more dense it appears, appears almost white.
The filigree, almost sculpture-like works of Peter pose a mental process in the viewer, sensations are aroused, and there remains room for individual interpretation. The technology is used to surprise and inspire communication, the unusual material and the seemingly spontaneous design. Can the intention be put into words? The intention is the image of wax that the viewer sees and feels and recognizes: the image.
Text: Marina Sprenger