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Maas, who completed his art studies at the Düsseldorf Academy in 2014 in the class of Tomma Abts, has created a series of new works for spectre, with which he continues to deal with the subject of "painting". MDF panels serve as carriers for the new paintings, on which he applies his precisely constructed motifs - stripes and rhombs in many variations - in acrylic paint. While the compositions were created digitally, i.e. with a picture editing program on the computer, Maas refrained from printing directly from digital sources, unlike in earlier works. The colors (and with them the abstract compositions of stringently recurring patterns) are applied to the surface in a very analogous way, partly classically with a brush, partly rolled. The colors are dominated by strong, lively, partly complementary contrasts, for example yellow and black or red and blue. Maas incorporates minimal, concentrated deviations that irritate perception and challenge the viewer's attention. Fractured structures, which create the illusion that the picture is slightly bent, create an impressive depth of space. Maas plays with the creation of levels in space, elevations and erratic refractions.

The mostly multi-part works are arranged by Maas in complex arrangements on the wall, so that the usual viewing habits of the panel painting are playfully broken not only within the works, but also when they are hung. Interspaces created by the arrangement become free spaces that can be extended or closed by the eye of the beholder, thus opening up a further pictorial space – entirely in the tradition of the theory of the 'Gestalt'. In this way, the viewer is more consciously confronted with his own being in space and time, orienting himself, so to speak, in space. The actual architectural space is thus linked with the pictorial space.


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