Franz Ehmann requested that we do not disturb the spheres in his title for a series of works consisting of tiny coloured dots and metallic spheres, most probably made of scrunched up chocolate wrappers glued to a black paper background. But as soon as my eyes fell upon these humble galaxies hovering behind framed glass I realised that I had definitely caused a disturbance. I saw the paint, foil, and the paper, and then I saw myself in the glass, blinking amongst the spheres. I was part of this galaxy, as I was also a part of this exhibition, and contrary to his title, I think this was exactly what the artist had desired.
From the moment I trod upon the large multi-coloured dots on the floor, it was apparent that Franz Ehmann had invited me into the art of his latest exhibition, ‘Maximum Acceleration’. He elicited a performance within this unlikely installation made up of predominantly wall-mounted works. In this instance, Ehmann had quietly invoked the multifarious nature of his practice; one that speaks through sculpture, text, installation, photography, video and performance. The artist once again pulled the viewer in through his sensitive assemblage of materials and motifs, which were arranged to amplify their symbolic potential.1 He had carefully constructed a language of dots, grids and black expanses for his guests to enter.
The little dots and spheres that freckled my face in the reflection of the glass recalled the expanses of polka dots designed by Yayoi Kusama to achieve self-obliteration. My face seemed absorbed by the black as the dots and spheres pushed forward and I floated in the infinite depth of the darkness; the unknown. Was