Klaus Fabricius homepage PREV  NEXT  INDEX
Review search and find in the NO!art archives

By Markus Döbele, Stuttgart 1994

The first look at Fabricius' painting reveals unorthodox materials: often one sees paper or foil pressed onto PU foam (a spray foam used to seal construction sites) swelling through cracks, or plaster with strong earth-crust-like fractures. Sometimes copies are included in the composition of the image. The result is relief-like, strongly painterly images. Especially the PU foam under the viscous wavy paper layer allows Fabricius to work in the depth of the painting ground.

This creates craters, cuts, and crevices. In addition to color, Fabricius uses transparent transparencies and copies, especially enlarged copies, as a means of heightening the painterly impression. On the one hand, the copies reduce the representation to black and white, and on the other, the representation becomes increasingly indistinct, especially in the enlargements.

It is similar with the veiling, transparent foils. Sometimes Fabricius also veils photos with a kind of impure synthetic resin that only mystically hints at the representation in the depth of the material.

The imagery of Fabricius is mainly determined by two motifs: Cathedral and skyscraper. The picture "Square of Cathedrals" shows that cathedral and skyscraper stand for the same phenomenon, which Fabricius calls "cathedral". For this term is used in the plural in the title of the picture, even while only "one" stylized cathedral, resembling a bishop's hat, is visible in the picture. In the same work, a group of cubes resembling a group of skyscrapers are depicted. If these are also understood as "cathedrals", the plural in the picture title becomes understandable.

It seems that these signs, recurring in the pictures of Fabricius, visualize a phenomenon, which is permanently driving the artist's world of thoughts, which cannot be recognized in the pictures but can be guessed. Without being too interpretive, I would like to call this phenomenon "the functioning mass". Many believe that it reflects the drama of our modern world. Fabricius, however, seems to understand it as an archaic phenomenon, because he places his "cathedrals" on a crusty ground, which looks like a luminous "earth clod". The three structures that resemble construction cranes also point to the mysteriously archaic. At the same time, they can also be seen as crosses. Then the profanely perceived earth clod suddenly turns into Calvary.

It seems unimportant whether a sacred or profane, a modern or ancient, a special or general phenomenon is thematized. Klaus Fabricius' wonder at the world, which he expresses in his paintings, goes beyond these categories.