What we see doesn’t usually look at us with David Uessem, but we do experience his point of view. He basically offers the viewer a school of seeing and perceiving. He shows us how he technically dissects the gold in the representation in order to have represented the perfect material with a step back. The folds of the shiny foil become almost imperceptible brushstrokes, which are only visible when approaching very closely. Every work, every material impresses with its perfection and completion.
And at the same time, what is behind remains closed, masked – what we see is pure surface. As viewers, we experience a pleasurable perceptual game between visibility and concealment, between obviousness and masking – and perhaps a competition between art and reality.
David Uessem stands out with his high standards of technical excellence. With his self-developed oil and acrylic glaze techniques, he can create exact color properties and thus shape his image genesis precisely. With the partially colored primed canvases and a pencil underdrawing, Uessem stands not least in the tradition of the old and new masters of art history.