Adrian Schiess develops his painting works on plywood, on wood, on rice paper, tissue paper and all sorts of other types of paper, on board, on chipboard, on metal, on found materials and synthetic products, etc. He draws, makes sketches and notes, watercolours and gouaches, filling large numbers of notebooks. He occupies all kinds of supports using all kinds of materials. Likewise, he paints in oils, acrylic and watercolours, with wax, with sprays, with ink, with India ink, with coloured pencil, with industrial paint, dispersion paint, lake, enamel, metal, etc. He does photographs on aluminium, on sheets of wood or synthetic materials. He makes posters and works on paper that can be put directly on the wall or any kind of surface. He makes video tapes, interactive videos on monitors, videos in projections and installations, etc. His most characteristic works are made with metallic paint on chipboard panels strengthened with PVC and covered with metal, and on new and synthetic materials. […]
Throughout this exploration over time, the specific space of his work has remained extremely limited, rigorous and strict. Based on immutable theoretical foundations, the space of the work absorbs the philosophical kernel, the rational definition, the historical consciousness, the analytical dimension, the operational concept and the specific nature of art in a single element, capable of founding, without any metaphysical complacency, what can poetically be called “painting” and, politically, “painting itself.”
Denys Zacharopoulos, excerpt.