The monograph “Inverse Painting” by Gerhard Himmer documents the most recent works by the artist, whose pictures may be understood as a continuation of Concrete Painting.

In his painting, Himmer endeavors to empirically transfer into oil paints the supposedly flawless arrangement of information in a digital world. The compositions, which at a first glance seem monochrome and to possess a perfect surface, reveal upon a detailed inspection the workings of chance and chaos and call to mind digital errors.
The publication contextualizes Himmer’s creative output through reproductions of his works and views of his studio and exhibitions, as well as through the theoretical elaborations of Christian Egger and Manisha Jothady along with an essay by the author Hanno Millesi.