MY NAME IS MARCO REICHERT. I’M A PAINTER. I WAS BORN BERLIN. I STUDIED AT WEISSENSEE ACADEMY OF ART BERLIN AND I STILL LIVE AND WORK HERE. I SEE MYSELF AS A PROCESS-BASED PAINTER, THE MATERIAL ITSELF IS THE PROTAGONIST OF MY WORKS. I LOVE TO SURPRISE MYSELF. THE GALLERIES, I’M REPRESENTED BY ARE BENONI GALLERY IN COPENHAGEN, RIBOT GALLERY IN MILANO, CIRCLE CULTURE IN BERLIN/HAMBURG AND BENDER GALLERY IN THE U.S. STARRING @MARCO_REICHERT BERLIN GERMANY
Painting, but especially drawing has always been important in my life. I started drawing and stuff like airbrushing early, became interested in graffiti as a teenager, selected intensive art courses at school and so on, but after school decided to study computer science before I went to art school. For years I actually thought I wasted my time by studying computer science, but today I can combine the knowledge from both areas very well.
In my paintings I like to create different surfaces, pattern and structures. I combine and play with a lot of different materials. In my recent paintings, I discovered ways to metallize the canvas in a chemical way, which leads to mirror-like parts, but also to actual rust and oxidation. I always like to use the actual materials and play with their qualities instead of simulating them. It creates a very interesting impression, visually and conceptually. The paintings, which are almost impossible to photograph, always include their surrounding space, including the viewer. They are constantly changing.
Over the last eight years, I began to develop, build and program machines that have become part of my painting routine. The first mechanical device I used to paint with was a remote control car with a pen attached. From there, the idea grew and developed, and it is still important to me. The devices have become bigger and more sophisticated, but due to the fact that I build them myself, they still produce a lot of unpredictable results, which I wouldn’t call errors, because they are often the most beautiful parts. The machines allow me to make the preparations, applied materials and initial painting on the canvas visible.
Most of the time I have a vague idea in my head, it’s more like a mood or feelings about colours, the composition and the shape itself, something that would be very hard to draw or describe. I always work in series, many works at the same time and they all share something, they don’t look alike but they have this first feeling in common.
My biggest influences don’t tend to come from visual art. The inspiration with the highest impact comes from music and nature. Structures and surfaces I find outside on walks in the woods, for example. I always take photos and make 3D scans, which I use to prepare my artworks. I’m also very much in love with digital glitch and visual noise of any kind. The same passion for chaos and imperfection I have in music, mostly punk, which has a very strong but subtle impact on my works.
My studio is a former store and workshop for windows. Its layout gave me the opportunity to have different rooms for different tasks. There’s the actual painting room, a room for the machines, another room for mixing the paint and playing with new materials (the dirty one). There’s also space for stretching the canvases, doing the last touches and finally one pretty clean and white-cubbish showroom. The cleaner room gives the opportunity to actually view the work without the reflections of all the chaos around.
Art? It’s hard to say. It’s bit like a body part or organ that has always been there and that you depend on, without thinking about, but it would make my life much harder or even impossible to survive without.