Thomas Scheibitz - Review

Title: 'ONE-Time Pad'

Artist: Thomas Scheibitz

Venue: The Baltic Centre for Contemporary Art, Gateshead

Dates: 26th July - 3rd November 2013

Web Link: https://www.balticmill.com/whats-on/exhibitions/detail/thomas-scheibitz

In his exhibition 'ONE-Time Pad', German conceptual painter and sculptor Thomas Scheibitz brings over two hundred of his works from the past five years to the Baltic. Using simple geometric shapes to trigger memories within his audience, Scheibtiz's art explores the conflict and tension between figuration and abstraction. Aside from the revelation that this collection has  a particular focus on the human figure, Scheibitz keeps to his usual practice of giving away very little about his work - it is not meant to be deciphered. With this in mind, the title of the exhibition is perfect: a very helpful Baltic worker - without whose informative tour around a selection of the works I, and, judging by their expressions, the rest of the group, would have been completely lost - tells us that 'ONE-Time Pad' refers to a method of encryption used to transmit secret messages during World War II and the Cold War. Each code can be used only once and is impossible to crack; Scheibitz rightfully sees his work as encrypted visual messages, which the viewer is invited to unlock through their own interpretations of each artwork.

Although the exhibition is displayed on levels 3 and 4 of the Baltic, it is recommended that we begin at level 5, looking down upon the sculptures and paintings on the level below. From this vantage point, the artworks seem like an eclectic jumble sale of colour - I am reminded vaguely of the Mad Hatter's tea party in 'Alice in Wonderland'.

Down to level 4 and our first port of call are the paintings that line the walls, mostly vinyl and oil on canvas. The bizarrely named 'GP 169' - it becomes apparent that, in fact, the majority of the works are bizarrely named so as to bear no influence on the viewer's interpretation of the content - catches my attention. It comprises strong, dark block colours: very flat but with a 3D effect in the bottom right corner, I interpret the assortment of geometric shapes as a person. The work has a quality of sadness: the large 'eyes' are bold red, with blue and black lines spiralling from their edges that could be interpreted as tears. According to the guide, this painting is actually meant to resemble a heart - you see what I mean about these works being very open to opinion. This is again the case for the next painting, 'Portal'. We are told that popular guesses as to the content of this piece - a series of different sized squares with a triangular incision at the centre - are windows, mirrors, doors, frames. The bold colours and varying sizes of squares give the impression of sucking you in: I felt very small and insignificant. The swell of black and yellow at the bottom of the piece provide a welcome break from the straight lines that are otherwise dominant.

The next painting is my favourite of all those on level 4. Until the title is revealed, I confess to being able to decipher very little: it is a mass of geometric shapes and planes of colour jostling for space, deliberately difficult to penetrate. Scheibitz believes that this constant bombardment and distortion is reflective of life. The piece is actually named 'Le Matin' - all at once, it takes on a new meaning. This could be a contemporary interpretation of a busy cityscape at sunrise. The painting's sheer size and busyness convey the feeling I always get in a cosmopolitan city - overwhelmed, insignificant, at risk of being lost forever amongst the tall buildings.

An alcove at the back of the room gives a rare insight into Scheibitz's creative mind: his preparatory drawings are on display, sketches on paper used to figure out the compositions and proportions of his pieces. We are told that, whilst the artist works on several paintings at once, he only ever focuses on one sculpture at a time. It is the sculptures we move onto next, in the centre of the room. Interestingly, they are presented in groups on large plinths rather than in the original arrangement of one sculpture per plinth. This is so that they overlap. I home in on two sculptures seeming - and I could be entirely wrong - to represent trees. The first is a black metal construct, reminiscent of a coat rack from IKEA, with a giant 'bauble' hanging from it - it makes me think of a starved, gothic Christmas tree. The second contrasts hugely: a smooth, glossy brown, thicker, seemingly quite graceful. It is smaller but seems infinitely stronger than the first.

Level 3 brings the painting 'Mosaik', possibly the most easily decipherable work yet. It is a man with a strange, large hat, a cross-hatched face and head; the man is grey against a predominantly yellow background. No mouth is visible, but there is an air of a serious expression. On closer inspection, the hat seems too large, too crushing - as if the man is being oppressed from above. For some reason, I warm to this painting. This level also hosts the piece from which the exhibition takes its' name, 'ONE-Time Pad'. It reminds me of 'Le Matin': the grey skies we see here could make it the same cityscape but at a different time of day. I have become used to this feeling now, but it is hard to decipher: a feeling of busy industrialisation dominates.

Also available here are Scheibitz's notebooks and collages of early sketches and plans. They are certainly an interesting insight, though I will be honest when I say that - as per his intentions - they do not make anything easier to decipher.

All in all, the exhibition is certainly interesting, though I will confess that by the end attempting to find a meaning in these often impossible works can become quite exhausting. Nonetheless, I would recommend a visit: arty types will love it; non-arty types, the exhibition is a lovely way to lose yourselves for an afternoon.