At the centre of the exhibition are large-format inkjet prints. Rößle photographs details from his own watercolour paintings, enlarges and arranges them, before printing them directly onto canvas. Just small manual interventions occur and errors during the printing process are intended. Building on the principles of colour field painting, the intensity of the colour is immediately tangible – the printing is done directly onto the raw canvas. The process is reminiscent of recent post-conceptual approaches. In his inkjet prints however, Rößle allows the vivid, organic style of the watercolour source material to come through.
A second group of works makes reference to earlier pieces by the artist: painted fragments of stretcher frames on the gallery wall (Wallpainting #15) that once served, in the form of a pin-board, as repositories for his painterly sources – now they are substituted by three mirror fragments that have the form of stretcher frames. In a type of narcissistic loop they mirror the colours and surfaces of the prints that surround them.
Rößle’s works on paper, hanging in the gallery spaces downstairs and in the back room, attest to a compositional ease. Within his painterly gesture resides an understanding of the endpoint of painting in the traditional sense, and the necessity of constantly challenging this moment. In aesthetic harmony with his watercolours and prints, a cutting from a newspaper illustrates a Sotheby’s advert for luxury properties that, including marinas, are on sale for millions of Dollars.
As in the case of the exhibition title, taken from the lyrics of a US pop song, the critique seems implicit only in its apparent absence. The supposed sweetness is conscious of its flipside.