Jan Muche is an expert exploiter of the visual waste produced by the modern era. With freewheeling audacity, he inserts the entire mass of motifal plunder—figures, architectural structures, newspaper clippings, photos, quotations, advertising slogans—into the backdrop of political grotesquery, film noir, constructivism, outer-space fantasies, Bauhaus and bikini mags.
Motifal mismatches, colours and forms, references and stances are strung together along the most skewed of perspectives without ever unhinging the pictorial logic. Breaches in style are bountiful. Nothing is too embarrassing in this post-nonrepresentational garage-style painting. Everything is worthy of representation. After all, it is not the picture that is subject to question but the world. There are no good nor evil themes, no obscenity, no decency, no dopiness nor cultivation, no abstraction, and no figuration. It is rather the one-sided narrow-mindedness of a certain all-purpose cliché that is perpetually painted down with doughty resolve.