The white cross-shape at the forefront of Echo is more like a redaction of sorts, glowing ethereally atop a number of rough-edged forms that appear like both sheets of paper and boundaries on a map. Such recurring forms function as both object and sign, adhering not to solely mimesis nor symbolism, looking to implement a sense of order whilst simultaneously letting it fall apart.

The face in profile of Joker II, resembling perhaps a dissected android specimen in the process of reconfiguration, is anchored around a central circle that could be an iris, turntable or digital interface. With the facial features reduced to a series of disparate yet still recognisable forms, the work’s title creates allusions towards a deck of cards or the superhero villain.

The similarly biomorphic properties of the figure in gp 312, a silver-clad torso appearing as avatar or medieval suit of armour, are confined to an indeterminate space, again operating between image and object.

Scheibitz posits events and spaces that can therefore be conceived of as black swans in themselves – hitherto unforeseen yet upon realisation in fact quite recognisable. In his work, the process of painting is not predictable, despite a fixed plan or concept. The probable or improbable interlocks with the impossible event, which at best may verge on invention. For Scheibitz, the term also belongs in an artistic realm because it stands for the certainty that things are not one-sided, that the world, or the image one makes of the world, remains unpredictable and thus unique.