This mass of eyes creates a need for self-assertion, the sense of oneself not only as a subject perceiving an image, but also as the object that is being perceived, while in turn including the view of oneself in the interpretation of the work.
Out of this two-dimensional pattern of eyes – the ornament of seeing and being seen – figures emerge through sensitively calligraphed outlines: hands, feet and heads, in gestures and postures that suggest pain and suffering. All figures are covering their eyes with their hands. They mustn’t see anything, neither the horrors to which they are exposed, nor the viewers, who, having discovered them, interpret their own perception – of themselves as well as of the figures. Their robes are also covered with eyes, lost gazes into the indeterminate space that is the exhibition room’s White Cube. Werner Meyer
The Eyes, since 2018
Digital drawing, digital print on blue back paper, paste
Im Zeichen des Ornaments, Kunsthalle Goeppingen, 2018