Black Swan features new works by Thomas Scheibitz including paintings, sculptures, and a continuation of his numbered group of works gp, large works on rag paper.
The definition of the term and the exhibition title Black Swan describes a singular event that occurs unexpectedly, typically an occurrence that is considered to have a low probability but high impact, and only in hindsight is determined to have in fact been predictable. Thus, the title of the exhibition is a metaphor for the present time as well as for painting or the painting itself.
A recurrent motif in the show is an oblique X or cross-shape. In gp 314 they are black and appear across the surface, seemingly stitching together different planes within a fairly undefined space, appearing as both part of the architecture and floating within it.
In a practice that creates intrigue through a movement between the precipices of figuration and abstraction, Scheibitz looks to this liminal space, drawing from both art historical references and his vast archive of printed material to offer a complex visual of our time.
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.