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After several years, Brussels has once again become Nick Oberthaler’s temporary place of work. At the same time, it is a central European point of intersection and convergence - of cultures, political interests, and nationalities.
This specific mix resonates in the works on view through formal analogies. In the small-scale abstract paintings, the gestural merges with the geometric; sharply delineated forms are paired and balanced with indeterminate, fraying fields of color.
Together with the large-format works conceived in a rigorously geometric mode, the paintings construct a vast and decidedly risky apparatus of reflection and reference: with them, the long history of abstraction inevitably enters the space, along with the question of how an artist inscribes themselves into it - or even moves beyond it.
Oberthaler is well acquainted with these questions and risks; he knows the genealogies of abstract painting in…
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Press Release
After several years, Brussels has once again become Nick Oberthaler’s temporary place of work. At the same time, it is a central European point of intersection and convergence - of cultures, political interests, and nationalities.
This specific mix resonates in the works on view through formal analogies. In the small-scale abstract paintings, the gestural merges with the geometric; sharply delineated forms are paired and balanced with indeterminate, fraying fields of color.
Together with the large-format works conceived in a rigorously geometric mode, the paintings construct a vast and decidedly risky apparatus of reflection and reference: with them, the long history of abstraction inevitably enters the space, along with the question of how an artist inscribes themselves into it - or even moves beyond it.
Oberthaler is well acquainted with these questions and risks; he knows the genealogies of abstract painting in…
