Anschütz's images structurally and thematically challenge the art's historically charged term of  'all-over' and raise the question 'What is an image made of?' in an alchemical manner. Is it the accumulation of the smallest addressable unit of image information? Or is the conjunction of motive, composition, and all the dynamics in between that are so hard to put into words? Emphasizing image information as the initial indicator, one sequin would equal one pixel, or even more metaphysically, each facet of one sequin and its multitude of colorful reflections projected on its exceptional surroundings would equal one element in a dot matrix display device. Unlike grid-based pixels, the sequins do not follow the rigid coordinates of the x and y axes or the codes of 0 and 1. They act (pin by pin) as witnesses of meditative workflow dynamics that are inseparably connected with the depicted shapes. The motifs in this series resonate with these dynamics. As different as they may be in their origin, they all seem inhabited by a strong constellated force that once again refers to the question, 'What is an image made of?' The gathered elements source from figuration as much as abstraction and find their juxtapositional peak in 'A Place Somewhere, We Found The Riptide,' where the synergy of material, motive, and processing finds its equivalent in the image of a raspberry bush. In this particular image, the relationality of the singular unit and the 'whole' becomes a leitmotif that not only resonates in the seriality of the exhibited works but even more so in their titles, which reveal the correlation with Anschütz's latest album 'Interior,' as the titles also serve as song titles.

The term 'all-over' is usually used in the context of abstract expressionist painting and implies a specific density of applied elements about the format of the image carrier. About the works gathered in this exhibition, 'all-over' seems more like an unfinished sentence than an art-historic term. The idiomatic expression 'all over the place' appears to be more than fitting since it addresses the reflecting lights of the sequins as much as a particular prejudice that may come with a dazzling sequin garment. This span of spatial sensation and the dramaturgy that interacts with Anschütz's alias as a musician allows a wide field of references that transcend genres.

Lukas Maria Kaufmann

1-3 Installation view at Kunsteverein Eisenstadt Austria Group Show Love Letters together with Lisa Holzer and Robin Waart, curated by Monika Georgieva

4-6 Installation view at A.I.R Building Tokyo, Nihonbashihoncho Japan Solo show