The Mystery of Reality – Post-modern Painting
An essential characteristic of the painting works since 1980: The formal description of the work can be accomplish easily - but not the analysis of the contents. René Magritte and Ludwig Wittgenstein formed the background of Klie’s thoughts, both connected by the focus on the concept of “mystery” and their reflection on concepts such as “homogeneity and analogy”. To both Klie referred to more intensely later. In the early Eighties, irony and quoting often were only instrumentally imaginable, a philosophical basis of his practice as basic attitude was rarely acknowledged. The then growing post-modern perception cast doubt on the ideas of liberty, originality and authenticity, consciously inserted quotations of other artists and combined historical and temporary styles, materials and methods and distinct art classes.
Klie refused to see aesthetics as decorative element, he retained the artificial. The pictorial means were used with purity, formally, there was a sort of balance, static and harmony. Klie applied these academic rules and classifications as well as all art styles, art branches and cultural products, being at his disposal. He dared to reflect and work on them liberally, according to his artistic need.
The pictures should be the expression of a liberal way of thinking: “The pictures do not decorate my thinking, my thinking destroys all which is decorative.” When someone stops because of discovering something and hesitates, then often a thought, not settled, has disturbed him. A question, looking for its answer?
The inventions of a picture evoked more and more trains of thoughts, resisting co-operation with the help of casually proven minds and their results. The organization of a picture made expect plainly corresponding contents, seemingly feasible to decipher. But they were not. In contrast to common patterns of association, the calculated co-operation of the pictorial elements suggested a link of contents, being without any justification. This is also reflected in paradoxical titles of pictures, often representing a trap, a deadlock or conscious deceit. The surreal-poetic effect of the title of a picture hinted beyond the meaning of the visible pictorial contents, thus Klie was a surrealist. A meta-surrealist.
His pictures thus evoke an attractive tension, how it can be dissolved, they did not show at all. The pictures have offered a solution, an arrangement with their own means, and the absence of world importance can be recognizes as the nucleus which they encircle. They do not ask any questions, for there are no answers to state.