Chef de Mulu

In Maxis II a powerfully placed tree emerges at the center, its form unfolding rhythmically in reds, greens, and browns. The luminous yellow surrounding it suggests the time of day and enhances the atmosphere of the scene.

Dark strokes at the bottom can be read as a garden fence, creating a perspective from above. At the same time, additional lines run across the picture – beside and above the tree – which can be understood as wind and turbulence.

The work thrives on expressive gesture, spontaneous overlays, and tachist energy. The vertical grey-black lines at the edges and the calligraphic structures recall Japanese ink painting; they provide not only a meditative framing, but also the sense of looking through a window into a vivid, moving nature.

Maxis II thus unites nature and symbolism with rhythmic freedom and an Eastern-inspired visual language.