The recent works of art by Axel Reusch could be named pictorial objects. Their object character remains just this side of painting. In a depicting, copying relation, the artist refers to "profane" objects of everyday life, objects "off the street". The selection of the objects is fragmentary and intuitive. At the same time, the works can be read independent of the motifs and interpreted on their own. Their structure appears open and hermetically closed at the same time. In the context of art history, they refer to abstract art as regards the language of their forms and their association space, at the same time they also refer to representational art as regards their representation character.
In their formal relation to the content of the representation, despite a definite proximity they are never copy nor illusionist representation. We usually associate representational art with illusionism of colour in relation to the depicted object, or the colour itself becomes the object without any relation to a depicted object. In Axel Reusch´s new works both relations are negated. The use of colour is in the "service of representation" and is reduced to a minimum at the same time in its illusionist use. Light, shadow, space are real, more created than depicted. The material character of colour and its use are directly related to the material characteristics of the object depicted without turning into a copy. The abstract language of the pictures does not arise from an abstract approach to composition. Rather it refers to the formal characteristics of the given and chosen objects – you could say in a case of "anti-composition".
A further characteristic is the choice of painting carriers and their relation to painting. Carriers like mdf, glass, or aluminium are not just a means to an end but are an integral part of the picture through leaving colour out, or through the three-dimensionality of the carrier itself. Both parts are in a "magnetic" field of effect. They are at the same time united and separated. Axel Reusch frequently visualizes this in the ambiguous relationship between figure and ground. The communication between the individual parts of the picture object is comparable to the relationship between the whole and the content being presented. This structural repetition regarding the frame and scale of reference is a special characteristic of these pictures.
In this mutual interrelation they are hybrids and come to life in the ambivalent relation between picture and object.
This ambivalent character of the work and its identity question results in its immediacy and proximity to life. It is all about seeing and last but not least seeing oneself while seeing.
(Verena Grothe, Axel Reusch )