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On about 70 square meters, the artistic realm is divided into a painter's studio and the downstream workroom. It is a place full of contrasts — a mirror of his art.

There is a distant smell of paint and solvents. A fine layer of dust covers the dark floor. Whether in the painter's studio or in the adjoining workroom, analogies to the artist's three-stage work process can be found everywhere between materials, trowels and paint brushes.

Hidden behind a stained wooden ladder is the oil-painted portrait of a young man with expressive eyes. Only on closer inspection the fancy background becomes clear. A layer of plaster as thick as a finger has been applied to the customised substrate. The surface hidden under the motif and the paint is the supporting element of all the wall artist's works.

Taken collectibles from construction sites and demolition houses can be found anywhere that paints or solvents don't take up the regular shelves. Holey reed mats, old torn rolls of wallpaper or discarded carpeting. They've all found their way into landfills and dumpsters. Alexander rescued them, and now they serve as much as his inspiration as photos of decaying walls and weathered buildings.

In and with this pool of diverse objects and materials, Alexander Queisser constantly expands his skills. Trial and error are his teachers. Various study objects hang and lean on the walls, on which the artist tests various plastering techniques. Plaster on canvas applied to rigid image carries, sometimes unconventionally covered with coarse-meshed linen, has a different look and feel. Sometimes white, beige, subtle and smooth, sometimes gray and ocher, quite coarse and large-pored.

"I am the anti-restorer"


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