Thomas Scheibitz's brand of quirky abstraction presents a futuristic vision of opulence, where even the most pedestrian subject matter is reinvented as a product of high design. Described as 'post-cubist', Scheibitz's pictorial breakdown of flowers, suburban houses and ski resorts doesn't create actual 'representations', but rather commodity 'ideals'. His architectural shapes and plastic colours reference art history as well as the shorthand of digital compression. His painterly expression takes the form of one-of-a-kind luxury, elevating the media blitz of contemporary consciousness to fetishes worthy of introspective contemplation.

Thomas Scheibitz works from an expansive image bank containing thousands of impersonal pictures collected from media sources. He uses painting as a means to explore the network of cultural signifiers of public consciousness. Painting from artificial representations, Scheibitz deconstructs the original image even further. His work operates as a lexicon for the interpretation of fast-paced consumer society.Thomas Scheibitz's paintings celebrate the collective over the individual. Through abstraction, he offers a futuristic vision where nature and technology merge, and realism is replaced by the higher aesthetic truth of pop design.

Thomas Scheibitz deconstructs a suburb in all its prefab glory. Breaking his painting down into compartmentalised units of colour, the effect is far more sophisticated than folksy faux na?vet?: he uses painting as the human equivalent of digital compression.Thomas Scheibitz doesn't paint a subject, but offers a panoptic view as a solidified whole. Adopting the flatness of medieval painting, perspective is delineated through overlapping layers and scale. Flower, building and mountain integrate as an abridged version of space, a synopsis of grandeur.Thomas Scheibitz presents the sublime as an algorithmic formula: mysticism denuded into a composite of shapes and patterns. A super-modern reinvention of the romantic landscape, Thomas Scheibitz creates a sense of awe not in the picture itself, but in the graphic simplicity with which such an overwhelming concept is inferred.