an 'idea-theoretical-physiological gadget' hanging on the wall on, which the citizen becomes or should be king of the household by the 'burger king' plastic cups and on, which 'the new alchimy produces miracles in series' spellbounds, bevor in another work the strong 'libido'stream splashes along over us - interrupted by cuts and borders and threatened by the 'biophopia', to name just a few shortly of what is shown here. In the 'physio-cubistic color-gadget' a moving process of phantasie is visualized by the color liquids, which flow through ballon bottles and hoses. In contrast to that in the object 'bio chemical phantasy on big synthetik-pasteboard' in picture the liquid clots and takes a fixated, solid, concious form and shape. The huge picture area cuts the room, it kollides with the room. By the way of putting the picture in the room its area is conciously made an opposite to the room and the view is guided to the picture. Surprisinly ti has a hole in the lower area. when looking through one can see a wooden scaffold, which  when looking at the backside turnes out to be a space construction which is empty and cannot be entered. The cliche of the so-called 'inner world hypothesis' is visualized by this, the inner room has been turned to the picture area and by that turned into the exhibition room. the problem between 'inside and outside', the pure hypothetical inner world - one could also equate this term with soul, spirit, subject - is made subject. This main subject of the artist, a term which comes from the neo-phenomenology of the philosopher Hermann Schmidt, moves through his art work like a thread. Feelings, which so far have always been placed into the inner spiritual garbage bin and were seen as private, are now turned to the outside as inner world, visible in the outside and visualized by the artist in the picture. - The picture in its irregular organical form lets one think of a wild growing phantasy phantom. It could be a chimera, an irridiscent being of phantasy, on which many colors, different shapes in a material and technic mix spread out.

Coming from the drawing technic, there was water coloring, glueing of foils and office points, cut and collage making, the overall impression though is caused by the individual handwriting. The 'bio aesthetical' structures were made of dryed on food extracts like the black strong centre of coffein, some by Ponal  framed ilands have become through soya sauce, wine and so on. One could loose onself in this world of phantasy, but is drawn back into reality by clearly recognizable pictured brain windings, cell structures, associations of preparation cuts. The work changes like a picture puzzle between art phantasy and reality. In the basement a leporello is installed, which as a walkable stretch of discussion visualizes the horizon of problem of the artist and offers a further over and in-depth view  in the oeuvre so far of Oliver Ross. Machine phantasies have occupied and faszinated artists ever since Leonardo, and have especially won importance in the 19th and 20th century, thinking about the machine phantasies of contructionism, surrealism, futurism and dadaism up to Tinguely and so on. Oliver Ross invents machines of wish in the sense of Deleuz, in which he quotes the serial aspect of the technical machines by repeats and in which the bio-phantasy hopefully keep atop the biophobia. The artist positiones himself with his phantasy of machines, with a creative process of art into the topic discussion context and by that leads the discussion between art and science proclaimed and asked for by the project of the four-rythm motor. He shows that in the interplay of the disciplines frontier crossings can lead indead to fruitful results. Dear visitors, I hope, your 'psycho-chemical and bio-phantasy' household is still in order and - again to pick up Goethe's words  - there is 'more light' now, instead of 'not more'. Thankyou for your attention and I wish a stimulating and exciting visit of the exhibition.

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