Kevin Aeschbacher’s hobby horse is painting. Of all artistic media probably the one most steeped in history, he uses this medium for his examinations of structures, materials, forms and surfaces he finds in everyday life, especially in the urban environment. Taken from reality, those fragments are transformed or distorted by means of digital image processing tools in a first step of the multi-stage work process. They constitute pattern layers onto which the artist superimposes additional pictorial layers (according to the principles of Photoshop), such as delicate computer-generated drawings or abstracted material structures. Using oil and acrylic in elaborate handwork, Aeschbacher then transfers the digital source images produced in this manner one to one onto the picture support.

In his CARAVAN exhibition at the Aargauer Kunsthaus Kevin Aeschbacher presents a new painting series in which the imagery of park and garden landscapes constitutes the framework of reference. The depiction of the garden as a quintessential place of human longing has a long tradition in painting. Kevin Aeschbacher draws on this, but beyond that he is also interested in the architectural and social significance assigned to the park within the urban fabric. Parks are hubs, places to see and be seen, places of diversion, movement and recreation.