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    Painting is the medium best compliant with Schweiger's intention, for it lends expression to the state of flotation linked to recollection fluctuating between recognition and rejection, between enlightenment and obscuration. An important role is played here by the large formats. He uses them to subject his motifs to a process of abstraction in which the topology and the topography of the picture begin to oscillate with the gloss of its surface. This diffusion does not only affect the objective element; it also obscures the experience of spatiality and temporality, in which the observer rediscovers him- or herself and yet simultaneously loses the way. It is frequently so that the sources chosen by Schweiger for his subjects comply with this tendency towards dissolution.

    Text: Silvia Eiblmayr