• Selected Paintings 2005 – 2014
  
• Selected 3D & Works on paper 2004 – 2011
• Woodcuts 2010 – 2013
• Outer-Worlds-final-catalogue

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Ivenacker Eichen, 136 x 172cm, oil on linen, 2009

Fretville Oak, 135 x 173 cm, oil on linen, 2008

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Silver Birches 100 x 111cm oil on linen 2017

Science Fiction

Where we are now, relies on where we have been and where we are going. The past and the future inform us of the present; distant pasts and far off futures, dystopia and utopia intermingle.

An early example of Science Fiction, Mary Shelley’s Frankenstein, is a love story full of moral warnings, which are as relevant now as ever they were.

Fairy Tales

The Grimm Brothers give us children’s tales from the ancient forests of Europe, warning us not to stray from the path and to beware of those that lurk alone in the shadows.

“…and I withdrew from the window, unable to bear these
emotions.” It is not sre if Mary Wollstonecraft Shelley wants the
DeLacy family to be seen as an ideal or already as the failure of
the family concept, but in using the first person narrator she gives
voice to the creature, who is speaking the above words. Stepping
deep in Shelley’s Gothic novel of 1818, Guy Allott is using the hole
in the wall, the cottage window, the lovely chalet façade, as a
screen for lifting off his own narrative of the Frankenstein story. In
an act of bad painting, the creature is identified as a creator and in
doing so, the artist fuses the different levels and perspectives of
narrator, figure, artisit, phantasy (sic) and desire, into one big game.

© Markus Summerer

About Lies, Gussglashalle, Berlin. May 2019.