CHRISTIAN EISENBERGER

A snowman riding a bicycle. Another snowman carrying a scythe, watches from a lookout, keeping an eye out for victims. A skull made of snow is completed by its own shadow. Shaped from branches on a blanket of snow, an espresso pot pours coffee into a mug. Is the flying hay bale in the sky an imagination? A muddy puddle in the forest spells "Hahaha". Rudimentarily nailed wooden strips in front of bushes and trees form the letters "O.T". [Untitled]

"Untitled" are also the photographic works in which Christian Eisenberger captures his Land Art. And photography is all that remains, for his artworks will fade away eventually. The camera is Christian Eisenberger's canvas for landscape painting.

Be it pinecones or branches, Eisenberger takes most of his materials from the sources of nature. Whereas Eisenberger's cardboard figures find their audience incidentally in the city, he is usually his own audience in nature. At the same time, he repeatedly incorporates himself into his works: standing almost naked in a star-shaped hole in the frozen surface of a pond, wearing a red jacket and green cap and peering through a sheet of ice, or balancing in tall grass with a cross painted on his back.

Christian Eisenberger has always had a deep desire to be outside, for many reasons. He experiences nature as a limitless space, a place of freedom and spontaneity that offers silence and the possibility of escape, a place of longing for peace and quiet.

Though Eisenberger is critical about the idea of "nature" – "In our part of the world we have to speak of industrial landscape" he says. "How we treat the soil is, after all, like war," – his works are nevertheless based on an essentialistic concept of nature.

Playful and bold, Christian Eisenberger's works simultaneously convey transience as well as humour and lightness. In contrast to macabre and grotesque jokes, they radiate a childlike joy in playing and experimenting outdoors.