helmut dirnaichner's works are autonomous, he creates the forms that he wants to put in front of the wall, wants to put on the floor, make mobile things shimmer or turn through the breeze, or stack them in columns. into these forms he beats or brushes the powdery pigments, which he selects as a painter, sometimes also obtained by crushing a stone in a mortar. these pigments, even more so the stones, have a very pure and powerful radiance. on his plastic forms, which then become the background, he can put the layers of paint, also on the front and the back. they are originals and he cannot repeat them precisely, only vary them. that is a great quality here. his artist books are also signed, very small editions of an idea, but they are different originals. the joy of a color, the joy of a shape, of a method for producing a special geometric shape, such as the square, the triangle, the lance, the oval made of a certain material such as the bark, the jonote fiber, the basic material since pre-Columbian times for the codices of the people in mexico, the application of colored earth to these forms, the soaking of whole forms in liquid paint or the highlight of the radiant powers of stones, the minerals such as azurite, malachite, cinnabar, lapis lazuli, which he ground to powder before he can apply them, which throw the light back into the room with deep and sometimes flashing luminosity, these are moments of happiness for the painter. when he goes into rooms, the light of which has a strong overall influence on his color objects, architectural elements such as supporting columns, paths, corners, staggered walls, windows invite him and offer him and the opportunity to respond to them with the form or the action of his works. In 1994 he created three ring-shaped floor works around the pillars in our mill room with luminous lapis lazuli, with malachite and with vermilion, this together with cellulose formed into corporeal rings, like floating, light millstones. he lets colored, large, hard lancet shapes float in front of a wall, which, when moved by a draft, changes in the radiance of its color. he loves these opposites.  
"the great fire place" from 1984, a very large oval made of olive branches tied together, the ashes of a burned olive tree struck by lightning as a pigment, scooped up together with cellulose, creates vortices like in a rebirth of these lightning bolts, heavy and light ash particles are arranged in a spiral on them.2011 helmut dirnaichnershows an earthwork "terre", it consists of elementary shapes and colors, a neolithic alphabet from 97 different types of soil, collected in spain, mexico and italy (apulia), mixed with cellulose.these works arise from a painter's desire for forms of color, for which he looks for the materials, knows the methods of production in his vision of how they will act as groups in a room. for this exhibition he is creating a blue fresco on site. we want it to last. his works are the personal works of an artist

ekkeland götze, the daring artist from dresden, is dirnaichner's partner for this exhibition, he creates an image of the earth, but completely contrary in concept. the work has no desire for colors, for forms, for which he procures the materials, he goes out with the greatest intensity and thirst for knowledge, perhaps circling the world. he works as a freelance artist, not as a scientist, not as a teacher, not as a journalist, photographer or publisher, although he writes texts, gives lectures, takes photographs of rare situations, creates videos of his travels and large art books.  his special work is his projects, which he prepared precisely, also scientifically, calculating time spans, providing travel and flight tickets, hiking boots, tents, whatever you need when you set off for the north pole, as an individual, including sponsors. the projects arise from his imagination as an artist, including the methods. somewhat geometrically, following a latitude through brazil, beforehand the number of key locations for earth samples is determined. the adventure: where am i? poetic, following indigenous people who sing their story in songlines because they don't know writing yet, geologically, like here in the exhibition, where he takes earth from the border zones of the retreating glaciers, also politically, like soil from the berlin wall - death strip. he entrusts this to the internet, precisely prepared, his material is the various types of soil that he collects, sifts and moistens at home and stirs into a paste, which he prints through a sieve on bfk rives, 300 grams as the original, spreads on nettle and stretches on a wooden frame. there should be no handprint on the surface, he wants to let the earth speak for itself. he signs on the back, they are great originals. from many projects he created rare artist books, the layered originals were “sewn” into books. they are often in wooden boxes, accompanied by poetic texts. we got to know ekkeland götze through portfolios from hermann glöckner, whose sculpture “2 clamped panes” he rolled through the room, recorded and printed.