The three new lithographs are a thematic development of the work we published in January 2004.

Max Matter: "My interest lies in the field of tension between systematics and coincidence, between geometric order and open order. Parts of my work are calculated to a certain extent, others are beyond my influence." The starting object of the present work is a silk paper folded several times, into which injections of coloured tinctures were placed, which were left there air-locked for a long time to continue their effect. The unfolded, coloured injection work was then transferred to transparent film in black and white, both as a positive and a laterally reversed negative. The two exposed and etched printing plates are joined together in pairs during the printing process. The rotation of the plates and the resulting change in the contact edge has produced sheets which, despite their identical basis, appear different: as a result of the positioning, the order structures contained in the plates can be read differently. If the two plates were placed one on top of the other, image by image (as when closing a book), the result would be the addition of total darkness.

Marc-Antoine Fehr cultivates the classic genres of landscape, still life, portrait and interior. He has always been preoccupied with complex themes, which he presents in monumental formats and picture cycles. His involvement with painters such as Piero della Francesca, Bruegel, Bosch and Rembrandt, as well as the literature of Dante, Flaubert, Kafka and Beckett, have had a significant influence on the artist's pictorial world. We have already published works by Marc-Antoine Fehr in 1991/96/98 and 2000. Some are still available. The present etching is part of a cycle of etchings that were made after sketches for a three-part painting that is in the making. The main concern of the artist is to preserve the vividness of the sketch when transferring it to the copper plate.

Rita Ernst's artistic work of the past years is unthinkable without the Sicilian experience. On her forays through the Sicilian cultural landscape, the artist was enchanted by the sacred spaces, Norman structures and Baroque churches. Out of this fascination arose the idea of using the floor plans of the architecture as archetypes for her own painting. Central to Rita Ernst's work, however, is her independence from the underlying floor plans. The representation of architecture can hardly be read anymore or at best only in traces. The four sheets "Spazio I - IV" are developed from the work cycle "Progetto Siciliano".

Charles Boetschi: "The simple subdivision of the square into eight equal rectangles, a rich compositional scheme that I have been working with for years, together with the intuitively made colour combinations, create an art that works with minimal means but is emotionally charged. These three serigraphs refer thematically to recent works in my painting."