Fabritius makes large format watercolors, and he does this in a genuine process if appropriation in which a breaking can be found, in a process of quoting in which reckoning can be found. Fabritius' pictorial worlds exist thanks to television consumption; by being present on the screen, by - as they say - hangin' on front of the tube, images wash over you casually, soothed, half-concentrated. 
(Metzger, Rainer. "World-referring, World-Withdrawing: On the Paintings of Tom Fabritius." Ed. Galerie Kleindienst et al. Tom Fabritius. Bielefeld: Kerber Verlag, 2005.) 

In front of the background of an otherwise well-organised pictorial space, I want moments of turbulence, uncertainty and instability to take place - like what happens in ghost stories. It's sort of like transposing scenes from late eighteenth-century haunted castles to today's urban underworld. Particularly in the age of the Enlightenment, during which the world was explored and explained by reason, there was a desire for occult phenomena and the subversion of security.
(Ebner, Florian. "Let's Talk about the Dimension of the Magical." Ed. Kleindienst, Matthias et al. Kerstin Flake: Turbulenzen. Leipzig: Lubok Verlag, 2009.)

Go back