frequently accused of being superseded or without having the ability to communicate something? Through his recent work Marco
Reichert appears to give us a valid answer: he offers the public the possibility of thinking of a new future for painting, one that
does not forget the past and yet is able to capture the potentiality offered by contemporary technology.
The works by Marco Reichert are pictorial planes that regain their verticality only at the end of the creative process, and they bring
to mind horizontal surfaces destined to host objects and to collect the traces of their passage as well as to record the classical
gestures of the “painter”. Each painting is planned, but it is also unpredictable. This is because it develops during the very course
of the work, and each image is intrinsically tied to the elements utilised. The vast range of materials and tools involved leads to
new structures, new textures, and new colours which could not have been arrived at without having passed through these pictorial
Besides this, what is of primary importance is the action that the “painting machines”, programmed by the artist himself, exert on
the work. Planned at first as “robots” that followed a geometric path and rules in order to interact constantly with them, these
devices have today become more complex, and they are for the artist a genuine tool, on the same level as brushes, ones capable
of obtaining certain visual results. This is certainly a strange way of painting and it adds something to the final visual effect, one
that cannot be separated from the creative imagination of its programmer. –– Maria Villa
Marco Reichert (*1979 in Berlin) studied Fine Art at Weißensee Kunsthochschule Berlin. He lives and works in Berlin.
MARCO REICHERT, UNTITLED, 2020