The title of Yanomano's current exhibition is Line_Up.
Line - In the literal sense: a (drawn) line, a „ guideline". And Line_Up in this exhibition could well mean the repetition and juxtaposition of strokes in their basic form.
A line is initially a two-dimensional shape. Indeed, the line, it appears in Yano's works, sometimes precise, clear, sometimes unclear, blurred and not uniform. But always connecting, because the painted line connects the surfaces of the substrate with each other. A line also means contrast: the colour contrasts with the background and sets accents. The line defines form and direction and determines the viewing angle. The title Line_up is therefore a good match for the selection of works: it encompasses the dynamics of the stroke, which especially makes the carrier material (the layered paper) more noticeable. A clear, powerful, unmixed colour can be seen, usually black, from which the line is created; partly it is the brush dripping with colour which leaves a broad stroke on white bleached paper, it runs over several sheets of paper which only take up colour at the non-overlapping point. A visible cut to the otherwise unpainted surroundings.
The sheets of paper draped on top of each other, the upper layer of which is slightly indented from the lower, suggest a great refinement and reveal that what was created here is not purely coincidental. The trained eye of the experienced artist was in action.

Pencil meets acrylic, craftsmanship meets industry. Craftsmanship: this is the drawn line and the evenly applied structure of the sheets of paper placed manually on top of each other and anchored with clips. Each individual paper is given its individual coloured texture, structure and shape, but only as a set all sheets of paper form the overall appearance of a single work of art. The equal and yet different appearance of rhythmically structured murals characterizes this show of works.
Industry: this is the serial character that is reflected in the machine-made paper and its standard format - but besides this, no two sheets appear to be the same.

Indeed, Yanomano's works are sculptural, but not in the understanding of the term statue, i. e. as a standing, immutable work of art in which the material is irretrievably carved, driven, drawn, cut or broken out of a form by means of common sculptural techniques. Yano's works are different: they are movable sculptures with a distinct haptic and optical quality, which can be continuously shaped and changed, since they are neither static nor created from a fixed, solitary original form. The works get by without frames, only without frames do they become works of art. The line has no beginning and no end, it is only a partial prospectus of an imaginary whole that the works of art reproduce.
Yano's works cannot be unambiguously assigned to a certain art genre. Irrespective of classical genre boundaries, Yanomano designs his own artistic language; his works want to be synonymous with modern sculpture.

Above all, in Yanomano's artworks, there are references to the international avant-garde of the 1920s, where, for the first time, active participation was staged. The so-called participatory art was an approach to making art which engages public participation in the creative process, letting them become co-authors, editors, and observers of the work. In the sense of this deeply democratic aspect, Yano's works encourage the user to change the way they are arranged as the mobile elements are individually slideable and allow the lamella-like paper formation to be stretched to any maximum width - a specially designed holding system serves as a sliding rail. Yanomano's art therefore focuses on the optical dynamic created by the buckling technique. 
In these works, it is evident that art connects many times and in a new way, namely craftsmanship with industry, materials with matter, i. e. the surrounding design, and illusion with reality. In this sense, may this exhibition, may the works also establish a connection to you, dear guests.