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This work is in excellent condition with no discernible condition issues. Detailed condition report available upon request.
I, as a body, am in a room; this room is in a house, the house is in a town, the town in a country, the country on the earth, the earth in the cosmos, and behind the cosmos, nothing – that is the theory of physical space. And with a top view over an urban landscape, a view into planetary space, onto the surface of the moon; or a view into an interior or a subterrestrial view – into a cellar, for example – the cosmic ovum as the spiritual space of all that comprises the microscopic and the macroscopic, Boehm visually transverses spheres, which he lends a metaphysical (extra)terrestrial character by means of the assimilation of symbolic materials or human traces. The painting is a skin, a projection surface, on which neurodermatitis leaves its emotional trail. The canvas forms a seam in the direct perception of the extrasensory. Spiritist sessions are, like the painting, a medium – their force controversial and nevertheless unquestionable. An in-between.
Phosporum III is an interior, possibly a basement. The room is dark, only reluctantly lit by three fluorescent tubes on the ceiling, immersed in a matt silver-brown whose brilliance seems to be something of the past, and whose reflection seems evil. Like a torture chamber or a laboratory out of one of those films that bring to mind everything man might do were he a wolf among wolves. A workbench is bare, the entire room is empty; no tools, utensils, equipment. It is abandoned, lacking any real function; undoubtedly man-made, but no longer there for him.
In Boehm's paintings, the meaning of space results from a depth-dimensional view, as once depicted in works by Giotto, Giorgione, or Segantini, or today in films by David Lynch or David Cronenberg. Reason is transported into a discomforting constellation and equipped with a collective uneasiness in which our towns, landscapes, bodies, souls, simply everything normally causal has no real relevance. Yet today we are used to gaining an overview from above of cities and landscapes, or to developing a relationship to hidden layers of the human level of existence in body language and verbal allusions. Light is a source of irritation – darkness creates mysticism like the metaphorically dark Middles Ages.
– Gregor Jansen, 2009
