Thomas Scheibitz b.1968, Radeberg, Germany Georgette und Landschaft oil, vinyl, pigment marker and varnish on canvas, 2013 The Alfond Collection of Contemporary Art Gift of Barbara '68 and Theodore '68 Alfond Cornell Fine Arts Museum, Rollins College 2013.34.151 The large-scale painting before you is an excellent example of the artist’s longtime consideration of the space of an imagined landscape. It also demonstrates his use of motifs from a recurring lexicon, both generic and invented, that the artist has returned to again and again, such as the water drop, the flag, the number 1, the cube, and the stage. Scheibitz makes both paintings and sculptures and we see the effect of his multi-disciplinary practice here. His painted forms are exceptionally dimensional. Furthermore, we experience his development of space and depth through the placement of these architecturally resonant forms like the “stage” that appears in the center of the image. In fact, the artist’s practice investigates the way our eyes read forms−the intersection of image and abstraction, the known (ie. recognizable), and the unknown. Before this painting by Scheibitz we subconsciously find ourselves seeking an identifiable image to bring us into the work, and as our eye travels through the image we realize that we are moving from the foreground to the deep space of the upper right quadrant almost before we recognize it. The artist works independently on his paintings for a very long time, photographing the results of each day before leaving the studio so that he may consider his next step. In this way he is a careful student of his own choices, and his process results in paintings where every single moment, despite how effortless and fluid they appear, is intentional. Scheibitz is also a colorist of the first degree, and this painting is a glorious, though perhaps slightly more harmonious representation of his offbeat palette. The artist often creates vibration through countervailing acid bright yellows and greens against other more sedate or dense colors. It is also interesting to note, the energy between the structured decisions of color and form broken by the sudden scrawl of marker as seen in the middle of the painting. This is a tremendously open and generous painting. The more time a viewer gives it, the more they receive. Scheibitz lives and works in Berlin.