The title of Yanomano's current exhibition is Line_Up.

"Line" – in the literal sense – refers to a (drawn) line, a "guideline." In this exhibition, Line_Up may well signify the repetition and juxtaposition of strokes in their most basic form. A line is initially a two-dimensional shape. Indeed, the line in Yanomano's works appears in various forms: sometimes precise and clear, other times blurred, unclear, or uneven. But it is always a connector, as the painted line links the surfaces of the substrate together. A line also represents contrast: the color contrasts with the background, creating focal points. The line defines form and direction, guiding the viewer’s perspective. The title Line_Up is therefore fitting for the selection of works, as it reflects the dynamic nature of the strokes, which notably highlight the carrier material – the layered paper.

A clear, powerful, unmixed color is usually seen – often black – from which the line is created. At times, it is the brush dripping with color, leaving a bold stroke on white bleached paper. The line runs across several sheets of paper, which only absorb the color at the overlapping points, creating a visible contrast against the unpainted surroundings.

The sheets of paper, stacked atop one another with the top layer slightly indented from the one beneath it, suggest great refinement. This reveals that what has been created is not purely coincidental; the trained eye of the experienced artist is at work.

Pencil meets acrylic, craftsmanship meets industry. Craftsmanship: this refers to the drawn line and the evenly applied structure of the sheets of paper, which are manually placed on top of each other and anchored with clips. Each individual sheet of paper is given its own color, texture, and form, but only when considered as a set do these sheets form the overall appearance of a single work of art. The equal yet distinct appearance of these rhythmically structured murals characterizes the works in this exhibition.

Industry: this is reflected in the serial nature of the machine-made paper and its standard format, though no two sheets appear identical.

Indeed, Yanomano’s works are sculptural, but not in the traditional sense of a statue – that is, as a standing, unchanging work of art where the material is irreversibly shaped using common sculptural techniques. Yano’s works are different: they are movable sculptures with distinct haptic and optical qualities that can be continually shaped and changed, as they are neither static nor created from a fixed, singular form. The works exist without frames; it is precisely this lack of framing that allows them to become true works of art. The line has neither a beginning nor an end; it is merely a partial representation of an imaginary whole that the artwork recreates.

Yano’s works cannot be clearly categorized within a single art genre. Independent of classical genre boundaries, Yanomano has created his own artistic language. His works aspire to be synonymous with modern sculpture.

Above all, Yanomano’s artworks echo the international avant-garde of the 1920s, when active participation in art-making was first emphasized. The so-called participatory art involved the public in the creative process, allowing them to become co-authors, editors, and observers. In this democratic spirit, Yano's works encourage the viewer to interact by rearranging the mobile elements. These elements can be individually slid and allow the lamella-like paper formations to stretch to their maximum width. A specially designed holding system functions as a sliding rail.

Thus, Yanomano’s art focuses on the optical dynamics created by the buckling technique. In these works, it is evident that art connects many elements in new ways – craftsmanship with industry, materials with form, and illusion with reality.

In this sense, may this exhibition, and may these works, establish a connection with you, dear guests.