Matthias Zinn’s oeuvre moves away from the seen and experienced reality in order to arrive at the essence in the world of things. Reality is captured and translated into an autonomous painterly form, literally abstracted – and this not only formally, but in a genuinely conceptual approach: In the end, Matthias Zinn’s priority is always to manifest the autonomy of painting.
He finds his subjects in his immediate living and working environment; he observes them on a daily basis and can study them in depth. Whether it is a table with the obligatory painting utensils, an easel, a chair in the room, a shoe or a shirt thrown carelessly on the floor, a view out of his studio window onto the houses and facades opposite, a solitary tree, a deserted playground or simply a hill. Familiarity with things and places is necessary so that they can turn unfamiliar to the artist in the act of painting them.