Matthias Weischer's paintings use architecture as a central theme to explore the possibilities of spatial illusion. His elaborate depictions of interiors are pure invention based in a quiet subversion of logic. Obsessive patterning, incongruous perspective and embellishment of off- kilter positioning are used to create psychological tension. Through the banality of design, Weischer presents a state of contemporary consciousness where model living is reflected as both desire and anxiety. Matthias Weischer's rich surfaces contrast geometric fields of hard-edged abstraction with highly rendered decorative details to create an eerie play between flatness and 3D. Starting with a blueprint of an empty room, Matthias Weischer builds his imagined locations layer upon layer, each added element further pushing the boundaries of perceived space. Dizzying repetitive motifs and Escher-like visual riddles nimbly allude to a sense of the uncanny. Suburban normality is infiltrated by an almost unnoticeable surrealism; floors become tabletops, flat-pack furniture is impossibly two-dimensional, and shadows are conspicuous either by their absence, or their absurd shapes and angles. Monotony is presented as a perpetual labyrinth of contemplative wonder.Each canvas exposes the making of its improbable construction. Following underlying grids reminiscent of virtual reality, Matthias Weischer rigidly maps out the structure of fantasy. Never populated, his interiors give no hint of narrative; their d'cor is unplaceable in fashion timeline, and there are no clues to their inhabitants? personalities. Instead, they operate as blank showrooms for the viewer's projection, blurring the boundaries between public and private, individual and communal experience.



One of the main themes of Matthias Weischer's work is the interior. Almost all his paintings are views of interiors. They show closed interior spaces with neither windows nor doors, sparsely furnished and decorated, and without a person to be seen in any of them. In the art of the past decades the subject of the interior was mainly of importance for installation art, for example, the works of Ilya Kabakov, Gergor Schneider and Christoph B'chel. By linking into the classical painting tradition, Weischer has rediscovered the interior as a theme for painting.Matthias Weischer's paintings of interiors expose the architecture of painterly illusion. His rich surfaces contrast geometric fields of hard-edged abstraction with highly rendered decorative details to create an eerie play between flatness and 3D. Starting with a design of an empty room, Matthias Weischer builds his imagined locations layer upon layer, each added element further pushing the boundaries of perceived space. Incongruous perspectives, dizzying patterns and Escher-like visual riddles quietly allude to a sense of the uncanny. In Living Room, suburban normality is infiltrated by an almost unnoticeable surrealism: shrubbery on the inside of the building, an impossibly flat piano and a table that casts no shadow.