Mucha affirms and visualises the waiting, the pauses, the idle breaks in the real and fictitious events as a production field and sounding board for his own artistic work.
It may sound paradoxical: Mucha artistically realises and concretises a state that is not concretely real, a present that is open to all sides and directions, in temporal and local dimensions, a situation of temporary standstill. Mucha stages an unpredictable, fractured reality. Things are ideational and material, craft and fictional, real and unreal instruments of transitory work. Reality and art – as quasi synonyms of their mutual concatenation – grow into a montage of an illusion: a vision of chaotic order, unsecured impenetrability and unstable load-bearing capacity.
Reinhard Mucha’s oeuvre spans from1981 to1996, and the works show an artistic development that, from the beginning, can be read in close relation to the socio-cultural and urban context of his studio in Düsseldorf-Oberbilk. In this context Mucha’s works – as concentrated testimonies of individual observations and experiences – refer to the mechanics, as well as the fragility and the ruinous aspects of our industrial society.