My paintings are shifting between subject and material. Repainted memories and perceptions are transferred directly onto the canvas. I have this personal believe that a painting is something physical. For this I am continuously questioning the materials I use and follow their traces. In the course of this I am seeking an autonomous representation of the subject on the canvas. My aim is to reset my own pictorial vocabulary within the painting process and to reach to the point where there’s this certain direct impact appearing – so that subject and material are oscillating between form and content.

Fabian Treiber


„Staring into Space“

Marie Luise Namislow, Stuttgart 2017



Die Möglichkeiten den Blick zu schärfen und aufmerksam zu sehen potenzieren sich gerade im Zusammenspiel abstrakter und gegenständlicher Bildelemente. Sie machen die Eigenart der Bildwelten Fabian Treibers aus. Narrative Fragmente scheinen nicht nur im singulären Bild auf, auch zwischen den Arbeiten gibt es Bezüge, die durch den künstlerischen Prozess motiviert sind.

In seinen Arbeiten kippt und pulsiert es. Unter einem altrosafarbenen Teppich scheinen Formen hindurch. Übermalte Erinnerungen, bildgewordene Gedanken vielleicht, die unter der Oberfläche liegen und die dennoch darauf hinweisen, dass dies eben kein Teppich an sich ist, sondern ein gemalter. Wichtig bleibt der gekonnte Einsatz des Materials, aus dem die Form, aus der ein Stil erwächst.

Fabian Treiber erforscht in seinen Bildern den Raum, in den wir blicken und lädt dabei auf ganz eigene Weise zu immer neuen Entdeckungen im Dazwischen ein, zwischen Abstraktion und Figuration, zwischen Eindeutigkeit und Rätselhaftigkeit – oder wie er es formuliert: „There was always something disturbing“.[1]



The interplay of abstract and figurative elements in the image increase the options to sharpen the gaze and to see more attentively. This is what characterizes the visual world of Fabian Treiber. Narrative fragments not only emerge in single paintings, but also a whole series bears relations, which are motivated by the artistic process.

His works are vibrating and pulsating. Something seems to be shining through underneath a light rose coloured carpet. Memories painted over, thoughts that have turned into an image perhaps, lurking under the surface they implie that this is not a carpet in its own right, but a painted one. The masterly use of the material is ever so important, paving the way for arising forms and finally a unique style.

Fabian Treiber explores the space in which we are staring and invites us to make new discoveries of our own, between abstraction and figuration, between unambiguousness and mysteriousness – or as he puts it: »There was always something disturbing.«


[1] Die gleichnamige Ausstellung fand von März bis Mai 2016 in der Galerie Strzelski, Stuttgart statt.


„About the works“

Reto Boller, Zurich (CH)



One precondition for Fabian Treiber’s work is Baumeister’s search for the “Unknown“ in which the intended aim solely serves as a method for finding forms within an autonomous pictorial world. Just as inevitable, however, are representational realities. In between these two realms his painterly research takes place.

Employing stencils and lacquer spray Treiber makes the format rhythmic. He layers recurring elements until the resulting accumulations delay a direct recognizing of formal doubling. Maybe the time gap is necessary for the viewer in order to realize the representational references that occur in all his works. Space emerges on the picture plane and is dissolved, at times negated, in the next moment of seeing. With elements taken from the real world of objects the artist eludes a self-referential private language.

Moving between abstraction and representation Treiber invents pictorial worlds which he does not tell of, but which can be experienced as autonomous painting itself. The formed colors are no illustration of this open attitude; they rather speak about a genuine search for uncharted territory. With this approach, coined by intuition and experience, Treiber manages to find rather than create images. The fact that he takes risks and does not shy away from making assertions is an asset to his painting.