Life has returned to Grözinger's post-apocalyptic landscape paintings: martial little men and grotesque hybrid creatures with insatiable lust for destruction, zombie-esque figures with bared teeth and pink tentacles that grow out of the barren soil in sulfuric light.
Grözinger cites motives of young adult adventure novels and trashy sci-fi movies and purposefully explores the boundaries of good taste as well as those of pictorial representation. He plays with elements of traditional painting such as light and shadow modulations, classical genres and composition and at the same time playfully flirts with pictorial dilettantism: Abstract colored areas are declared to be fantastic space stations, rough brush strokes to offal. Grözinger's paintings negate academic rules and offer a variety of fields undermining each other.
On the occasion of the exhibition a catalogue will be published with numerous illustrations and texts by the art historian Dr. Dorothée Brill and the Leipzig author Clemens Meyer, who congenially transfers Grözinger's paintings to the literary Uncanny.