NININ #2 - 'the copy' Painting

NININ is an expression of Oneness - NININ occupies the space between craft and contemporary art, where disciplined repetition and material execution serve a concept that exceeds the individual object. - NININ’s repeated form paradoxically reveals difference: each iteration is subtly distinct, a unique individual within a rigorous universal system. - The NININ series is an iconic visual formula—a state of rigorous, repetitive simplicity— black, black, red, monochrome on 3 canvases each 60x80cm. a conceptual mirror, reflecting the constructed nature of form and identity. Though composed of strict, repeated panels, NININ reaches beyond form, pointing toward the singular ground of reality. In its paradoxical simplicity and subtle variation, it becomes a mirror of the absolute, a visual meditation on being itself. NININ insists on paradox. Like a Zen riddle, it resists resolution: neither is, nor is not. The canvases, saturated to the point of opacity, become both surface and abyss. Their darkness recalls the censored page, where black bars erase meaning while simultaneously declaring its presence. What is hidden becomes visible through its concealment; what is shown dissolves into insignificance through repetition and excess. In this way, NININ speaks the language of our time: a world of overproduction and arbitrariness, where every image is immediately consumed by the next, where social media feeds and markets hunger without end. Yet the paintings do not merely condemn—they hold open the tension between fullness and emptiness, between spirit and nihilism, between art and its negation. They remind us that paradox is not a failure of meaning but its most radical form: a place where seeing becomes unseeing, where the black surface is at once censorship and liberation. Born 1980 in Linz, Austria. Painter, musician, cultural-social anthropologist. Lives in Vienna, Austria