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Night, in David Weishaar’s painting, never merely corresponds to an atmospheric condition. Rather, it is a mental space, a perceptual threshold, an emotional territory within which images slowly emerge, like memories resisting oblivion or presences refusing to disappear. The exhibition title, Eyelids, towards Night, allegorically suggests this movement: the gradual lowering of the eyelids not as a concluding gesture, but as an opening toward a different form of vision. Not a withdrawal of sight, but its continual transformation.
Weishaar has developed a painterly practice that places the human body and its relationships at its center, while simultaneously investigating the affective, political, and social dimensions of contemporary human experience. The figures inhabiting his paintings often belong to his closest circle—friends, partners, familiar presences—transfigured through painting without ever losing their existential concreteness. What emerges, however, is not the individual…
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Press Release
Night, in David Weishaar’s painting, never merely corresponds to an atmospheric condition. Rather, it is a mental space, a perceptual threshold, an emotional territory within which images slowly emerge, like memories resisting oblivion or presences refusing to disappear. The exhibition title, Eyelids, towards Night, allegorically suggests this movement: the gradual lowering of the eyelids not as a concluding gesture, but as an opening toward a different form of vision. Not a withdrawal of sight, but its continual transformation.
Weishaar has developed a painterly practice that places the human body and its relationships at its center, while simultaneously investigating the affective, political, and social dimensions of contemporary human experience. The figures inhabiting his paintings often belong to his closest circle—friends, partners, familiar presences—transfigured through painting without ever losing their existential concreteness. What emerges, however, is not the individual…





































