In the surprisingly dimly lit room stands a painting on an oil-encrusted easel, naked people at the mercy of a natural phenomenon of their own making. His art consists, among other things, in creating color and contrast with an extremely reduced palette, Oskar Staudinger mostly paints in black and white, and for that he would need the weak light. With full lighting, only gray areas appear and someone else is already responsible for them. His themes are as rich in contrast as his works. On the dark, satin-matt shimmering apothecary cabinet stands a portrait of a sadistically grinning teddy bear on a small metal easel, the black humorous antipode to the picture on the easel.

He sees it as a personal affront that no climate activists have ever glued themselves to one of his paintings, after all his more Wagnerian oil paintings very often deal with precisely this topic. People lost in an increasingly hostile environment. Whereby nature is not to be understood here as the goal of a glorified romanticism about walking in the forest, but as a self-created opponent who wipes us off the planet like the hand of an architect removes undesirable building designs from the diorama. Götterdämmerung, Siegfried's death and funeral march would fit well in view of the cloud formations. As the gaze wanders over the oil painting, the background for the ink drawing emerges with incredible lightness. Yes, I said, I also had to make an effort so as not to be able to make any more effort at the moment. "Don Giovanni" in the ear naturally provokes quotations from Mozart. Ah, dove è il perfido. The later added finale of "Don Giovanni" can be heard. An amusing mixture, "Don Giovanni", over-excited smiling teddy bears in ink and a Wagnerian painting. Comedy is Tragedy in Mirror Writing, James Thurber.

© From the text „Atelierbesuch“ by Astrid Kora Negus, Dresden, Germany, November 29, 2022

Translation: Oskar Staudinger