The references that Klaus Fabricius sets strike with all sharpness. And his works also make use of our preconscious, of that which releases trains of thought. Strange and unusual hermaphrodites between sculpture, painting, environment, machine, he uses the arsenal of technicistic possibilities; motion detectors that unexpectedly switch on the operation of a work as soon as you get too close to it; not at all comfortable when suddenly the image reacts to the viewer; photoprints, segments of sharp-tongued metal, the flickering of light bulbs, which in turn are supposed to imitate candle flames and quickly set the Biedermeier on fire.
It is the consistently upheld principle of collage and assemblage of titles, materials, charges, sensitivities that not only trigger them, but provoke them. A Drehkasperle, which greets once the round with unpleasant military bearing and vigorously beats the hooks, a cobblestone in the cafe image, "Freedom I mean": a 9mm gun complements the hand-blind leaf of the clock.
Things, banal in themselves, which only gain sharpness in combination and release mercilessly. And far beyond the obvious, these comments on the world and world events are always a little around the corner to think: "TV crab", what threatens the beauty there is a crab on video. From Ingres "Quelle", elongated according to the current ideal, wire instead of jets of water spills into a surface illuminated by a miniature television set dyed blue. Sound boxes, a completely new kind of preservation. And time and again, technical devices become part of a painting or photographic surface, blending in as if it were a matter of course, even if they protrude from the curve of a ball. They seem almost like reliquaries. Others are icons of a completely different kind, like the series of martyred women, who come closer to one than those early Agnes, Magdalene, Ursula.
This is not afraid to tell stories, to quote others,adapt, transform: Migration in images, in the foreign, to the own.