Since the early 1980's, Christopher Wool explores the process and properties of painting itself. By reducing physical and compositorial principals and experimenting with different painting as well as reproduction techniques, he constantly broadens the notion of this medium. Methods of repetition, layering and erasing build major means of Wool’s artistic practice, focussing always on essential elements like form, line and colour.
In his exhibition at Galerie Max Hetzler, Wool presents works on paper, several large-sized paintings as well as a single small sculpture. His paintings, dated 2016 and 2017, are re-appropriations of an early group of works on paper made in 1986, the so called Rorschach series referring to Swiss psychoanalyst Hermann Rorschach. Scanned and enlarged by Wool, he uses them as compositorial elements within his new paintings. The works on paper from 2016 derive from a series of silkscreens printed in 2006. Ten years later, Wool returns to this selection and overpaints them with oil and enamel. By combining techniques of painting and printing, he dissolves the borders of both genres and refuses to maintain the distinctions attributed to each of them.
Throughout his career, Wool constantly takes up on his own tracks and strategies, redefining them over and over. Thus, on the one hand he comments on his own work and on the other hand manages to keep the discourse around painting and its means alive.