In a world where visibility becomes currency and creativity becomes a brand, this position seeks something seemingly lost: a moment of calm.

Christian Evers' works arise from an attitude of reduction, influenced by Zen philosophy and the aesthetics of Japanese ink painting. Free, deliberate brushstrokes and recessed areas open up spaces in which the invisible can shine through. Movement and stillness, form and emptiness, intuition and discipline are not contradictory—they form a balance that creates resonance. But this calmness is not outside the system. It is part of it.

Even contemplative images are created in a context of time pressure, financing, public expectations, and the need for visibility. In this field of tension, the artist makes the decision not to fill, not to explain, but to leave space. A form of resistance—or a calculated contribution to the market?

Historically, these ambivalences are reflected in the roles of the geisha and the samurai: both highly aesthetic existences, yet embedded in strictly regulated economic systems.

Geishas perfected their art under high social and financial pressure, moving between performance and patronage, between form and function. Samurai also followed a clear code – Bushidō – which demanded discipline, loyalty, and self-control. But they too operated within clear economic structures: service in exchange for wages, loyalty in exchange for livelihood.

This artistic position comes into play precisely here: Where the exterior shapes but does not dominate. Where reduction is understood not as withdrawal but as attitude. Where business is not denied – but is surrounded by silence.

In an exhibition that asks how art asserts itself in the tension between market and meaning, these works are not a contradiction. They are an offer. An invitation to perception. A pause in the flow of efficiency.