„And the gods stand by in amazement and realize how far more beautiful the Venus of Melaos is than their own Eve was..“ James McNeill Wistler
Klaus Fabricius takes sharpness at its word, in sharp vision, in bite, to dwell in righteous anger. And is not silent on the world and its interplay, exposes, cryptically, many a golden calf as susceptible to shrewd attacks. Similarly, as DAda and Pop Art did in the combination of seemingly incongruous, gave the banal unexpected added value and nourishment, took the nimbus from the icons of society, the establishment and, the philistines.
He makes use of the arsenal of images and electronic media alike, and lo and behold, the hermaphrodites, the chimeras that he allows to emerge are decidedly viable, often serene, some lyrical, and not infrequently bitterly wicked in their commentary. There's Marilyn from behind and Catholic Girls from the front, Ingres's spring, her pond a luminous image, painted. Flowers, photographed, whose umbels complete themselves plastically as papery. Other razor-sharp leaves grow from the throat. A brightly polished coal shovel presents the hellfire which, however, shines electronically, flickers in the electronic wind. And a fan lets longing blow in the room. Reactions by motion detector and at the push of a button, some hit the viewer without him having any influence on the triggering. Via multiplex, a picture of Germany can be distilled from preserving jars, carefully selected canned sounds. And the Brandenburg Gate becomes wide, not strong. Golden reliquary boxes are just as much a part and reminder of our collective memories, but here Dow Jones, they certainly move into blasphemous proximity and open the eyes to the meaning behind the meaning. One looks back, a flickering art look and that clarifies better than any explanation, what makes so virtuosic from the known unexpected: the ability of the art power of their being and their self to implant us a completely new look.