Andreas Breunig analytically dissects his material. In distinct settings, he puts calculated gestures, textures, velocities and varying degrees of dissolved representationalism to the test. In constant permutations, the painterly ›codings‹ and relations of the specific elements shift visibly. Breunig moves between flat pictorial spaces and installative »spatial images.« Nonetheless, his painting always includes a focussed examination of the immaterial digitality. In face of post-natural, artificial light (displays, filters etc.), his chromatic scale ranges between a brisk and overdriven palette as well as a manifold and differentiated choice of color. Working with oil, acrylic, graphite and charcoal, instead of reduction, it’s all about the maximization of expressive possibilities. Due to the simultaneity of such surface phenomena, the boundaries of painting / photography / print become just as blurred as the attributions of original / copy / reproduction.
