Poellet’s conceptual painting consists of much more than merely formal exercises. The artist has recourse to a limitless variety of shades of gray—each individual hue is mixed out of primary colors—in order to create complex visual arrangements in whose consonances and dissonances there is a mirthful and lively inquiry into whether and how it is still possible to identify a unified totality in a present era when existing systems of order are breaking up more and more frequently into disparate parts.
The volume brings together panel paintings, mural and spatial installations from the last twenty years. Thanks to an unusual layout that is both ingenious and unique, Poellet’s works are not simply reproduced. The illustrations react to the format of the book’s pages and enter into relationships with the white space that surrounds them that are just as excitingly dynamic as are Poellet’s works with space and surface. Excellent essays by such renowned art scholars and critics as Wolfgang Ullrich and Thomas Wagner provide a host of insights into Poellet’s oeuvre and manner of working.