Hans Kotter

Although this may sound rather deflating, actu- ally it is great art visualizing the nothingness all around us. For without light, without refraction and reflection, we would live in a world without colour and so without contours. In a unique way, therefore, Hans Kotter interprets the illusion that surrounds us every day; he develops the essences of this optical illusion and familiarizes us with the beauty of details and vision as such. He makes shadow into his protagonist, moving everyday objects quite literally into the best light; he allows them to act with neon light and so irritate both the eye and the intellect equally by suspending their function. Visual stumbling blocks as radiant objects of smooth aesthetic quality. Hans Kotter finds his inspiration in life – in real life. In do-it-yourself stores and at fairs, whe- rever concrete matter offers him opportunity in the shape of specific material qualities. For every material reacts differently to his primary tool, reacts differently to the physical pheno- menon of »light«. The actual fascination of his works, however, is not necessarily the staging of the objects used in their original size, or the fact that he lends (new ) meaning to them – instead, it is their astonishing interplay that leads to change in our perception. Hans Kotter not only performs magic with sources of light; he illumi- nates, highlights things that actually take place in the dark. Just as his means of expression is intangible, his works are not obvious, by any means: Hans Kotter manifests messages that have to be discovered first. They are metaphors that sometimes confuse us, making us question our own capacity for interpretation. So is free- dom of interpretation permitted? Of course, but attention should be paid to the irony that is a vital constituent of Kotter’s works! However, none of his installations could evolve or exist if there was no space. The field of play surrounding Kotter’s works may be likened to a canvas from which he develops sleek referen- ces to current affairs, or humorous allusions to life’s absurdities and therefore very personal stories, all subtly narrated. In this present exhibition the viewer is permitted to explore the finite or rather the infinite quality of space – imaginary worlds evolve in impressi- ve 3-D graphics, drawing the viewer on and on like a spiral, apparently unwilling to let him go: an undertow that pulls down his gaze, making him curious about the unfathomable – in the sense of literally intangible depths. In addition, PURE ILLUSION HANS KOTTER SHOWS NOTHING.

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