The mirror, one of the first and greatest mysteries of our existence and also a fundamental metaphor for humankind’s self-relation, has been present in Jürgen Durner’s paintings since 1992. At the heart of his work are mirrored panes of glass on whose mirrored surfaces the visible event is superimposed, creating an irritating consolidation of the everyday, urban world of appearances. Apparently banal objects are combined with accessories of modern design, often vertical architectural elements and extreme light situations.
Everything is accompanied by a reflection, denying the viewer any sense of clarity. The artificial light of the night in particular becomes his primary means of expression and, together with the absence of light, forms a deep blackness – disappearance and nothingness – a pole from which everything originates.