The observer sees snapshots of an eternal world theatre that he looks at with amazement but does not understand.
The artist reflects unceasingly in his artworks on the two media of painting and drawing in a sensuous, extraordinarily clear manner. If surfaces, colors, color gradients and brushwork are attributed to painting, then drawing stands for lines and strokes, black/white contrasts and handwriting.
Goller brings all these elements together. However, he does not mix these levels; rather, he always makes himself and the observer aware that he is changing between “pictorial” and “graphic”, and that these levels function independently of each other.
Dr. Jutta Moster-Hoos
Head of Horst Janssen Museum Oldenburg
And what shows itself therein is an image understanding that is barely covered by currently circulating, semiotic “pictorial science”.
One who reads images as only “visual communication” will hardly be able to gain anything from Michael Goller’s art and will overlook the fact that it – despite the concentration on apparently traditional means of expression – contains very current potential, namely, a counterproposal to an image understanding that is orientated towards only technical media.
Art Critic & Curator KAI 10 Arthena Foundation, Dusseldorf
Now four years later, not only has the appearance of Goller’s pieces
changed radically, but also the way in which they are created.
Following a momentous yet fundamental process of grappling with both
his surroundings and himself, the artist arrived at a new method which
demanded that his oeuvre follow a new course. Michael Goller no longer
requires external impulses or pictorial concepts as catalysts in order
to step into his creative power. After years of developing his own
imagery, he can now create from the realm of his own imagination. In
order to advance to these inner sources - into the depths, as it were -
stillness, complete isolation from the external world and extreme focus
Director of the Kunstmuseum Moritzburg Halle (Saale)