When abstract painting is no longer allowed to be just a simple panel picture, it starts to become uncomfortable: categorical assignments and art-historical names such as Action Painting, Tachism, Informel and Hard Edge will appear. Preconceived attitudes are called into question and comfort zones in argumentation are obsolete. This applies to both the artist and the viewer.
The painter Andreas Breunig (* 1983) takes a radical position. In order to methodologically legitimize the abstract paintings of the S-Works series as well as the Hi>°
With his installations, Breunig therefore always creates a confusing situation for the viewer: because the work no longer merely hangs on the wall two-dimensionally, but reveals itself as part of a spatial dialogue with the viewer's body, the energy of the spontaneous application of paint is strictly regulated by constructed sculptural reforms. Breunig super elevates the overall image dynamics by downright over-presenting the painting, since it must assert itself both as a self-referential painting and as part of an effectively overwhelming, symbiotic total art work. The form of presentation of abstract painting is becoming a fanatical obsession in Breunig's oeuvre, with the aim of countering the decorative multiplicity of abstract painting more and more thoroughly. Ultimately, Breunig consciously legitimates one thing - both for himself and for the viewer - above anything: the desire for the simply painted panel, which has been able to overcome any trace of abstract kitsch thanks to its installative ordeal.