If design emerges from a continuous experimental process, then prerequisites were necessary. These prerequisites are made up of historical knowledge and the empirical procedures that follow, knowledge of habits, but also of visions, “provoked chance” and “intellectual freedom”. In addition, extreme ability to concentrate, discipline and perseverance seem to be necessary, but also consideration, respect and analysis regarding material and tools. The whole thing is accelerated by the conscious use of suggestion factors which temporarily change the psychological and biological correlations of the designer personality. If development times are allowed during the creative process and mindsets are overturned due to unwanted changes in perception, the platform for artistic approaches is created. Results could possibly be exhibited.
However, if the transport of a message plays a role, the process takes place under the influence of this intention. The inclusion of social and cultural responsibility in the creative process would be important here in order not only to communicate something specific to society, but also to give - scope for interpretation - to spark and / or to stimulate thinking.
For a "overloaded", economically oriented society with a crumbling understanding of art, abstraction, aesthetics, philosophy, quality etc. - primarily due to curricular structures - a corresponding message would be necessary.
Martin Kofler has already visualized both sensations and messages in the past and has already provided directions with pre-stage objects that show future potential. A visible direction has crystallized out and stabilized at the moment. Martin Kofler has implemented the results of this as yet unfinished creative phase and the development process could be justified with the thesis described above, the quality shows itself accordingly. May nothing deter Mr. Kofler from his current path.

Prof. Hans Richard Heitmann

Martin Kofler - new works ....

Viewed from a distance, Martin Kofler's pictures seem like everyday scenes, snapshots, seconds of current events, sometimes in bright, but often also submerged in earthy, somber tones.
Medium-sized and large-format works that slowly gain in transparency and in terms of content as well as technical complexity, and which give a hint that there is more to them than picture and surface.
Scenarios that reveal secrets, ask more and more questions the closer you get to them. Multi-dimensional surfaces, partly exposed, partly spilled, buried and scratched out.
Layers, textures, fractions, words - sometimes readable, often just guesswork, open the senses beyond the visual ...
A freeway scene that seems realistic from a distance ( Neue Götter , 2010), trivial on the surface, albeit visually engaging, gains in message and question ... Like a hologram - only now recognizable on closer examination - "God" emblazoned towards us, mirror image , in the colors of the omniscient www.Google God.

Statements and questions, sometimes with enormous explosiveness, such as “ Project Genesis ”, a work that was created in 2009, which formally seems to predict the scandal of the year 2010 and, moreover, asks even more multidimensional questions about morality, value system and human nature Contrast to melancholy beautiful journeys into childish memories ( prospects , 2009), which awaken long-buried memories and emotions in the viewer without lingering in the bold.

No picture without a question, no work without a secret - works that, when viewed, give rise to hope of understanding the course of the world a little better ( Machine Zeit , 2008), an alternating pool of dreams, hope and somber disillusionment, without the back door to one to strike realistically better world.

On closer inspection, supposedly provocative topics turn out to be deeply human scenes ( Absolution , 2010) - leaving the viewer with more questions than answers, they do not contrast with panels that seemingly carry a difficult legacy in a decorative and decorative manner ( Himmler - preliminary stage 21 , 2009) Art as amusement, neither decoration nor play of colors.
Images that shake up, arouse and move emotions.
Good and innocent and pure ( women of today , 2009) against the power of darkness ( interchangeable , 2009), far away there and also at home ( modern escapes , 2009) a struggle of the worlds - every day ... inside and out - but Anyone who sees Martin Kofler's works not as individual works but as a whole feels the positive power and the news - or is it a question?

Stephan Boos, photo artist

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