Introduction: Dr. Jörg Daur, Museum Wiesbaden

Ingo Meller deals with the basic elements of painting: canvas, paint, application of paint. Canvases, the shape of which is based on the course of the weaving threads, are glued directly onto the gallery walls as a picture surface and thus become a wall picture. The colors of the raw canvas and the lack of a support for the traditional picture base emphasize the flatness of the picture and make the painting appear particularly three-dimensional and material. The oil paints used are ready-to-use products from various manufacturers, which are selected, combined and used unmixed for the respective picture. Usually three or four tones are combined, the composition of which is determined before the actual work on the picture. Each applied color has multiple relationships: to the color of the canvas, to the co-colors and to the spatial network resulting from the canvas and brushstrokes. Quickly executed vertical or horizontal brushstrokes set the color on the canvas. The color setting is therefore the unrepeatable result of the respective moment, which cannot be improved or removed. Gestures, calculation and experience are individually unidentifiable. Ingo Meller expects us to endure two things when looking at his works: the unfinished and at the same time the perfect. The works appear unfinished because there is no final layer of paint, you can see the raw painting surface and the coarse application of paint. They are perfect because in the eyes of the beholder they are perceived as a whole, as an image. A picture emerges visibly, imperfect and perfect at the same time. He can indulge in it; but it is nothing but canvas, paint, and application of paint, on which the starving observer is thrown back again and again.