For his installations Seidel occupies the existing space and searches for interconnection between real and virtual structures beyond media-based genre boundaries. Whenever he encounters things and situations he concentrates them into abstract forms that draw from an »ocean of raw sense« (Maurice Merleau-Ponty). Thus he takes away the original usability of everyday things and constitutes them as objects of perception. With tearing shadows the artist pulls the medium of drawing – often limited in its existence to a flat, rectangular piece of paper – out of its aesthetic drawer. He clusters a bright, amorphous object into a jagged formation and pits it in its shiftings and stratifications against its strict paradigms. In somnambulistic ways projected drawing gestures and amorphous compartments pervade this real surface, nevertheless denying physics and Euclidean geometry in their movements and transforming the space into a vibrant network, dissolving the clear definition of light and shadow.

First drawn by hand and later deconstructed on the computer, the constantly self-evolving projections follow only vaguely a narrative structure. Rather, they can be seen as associations and memory fragments of Seidel’s innumerable travels, the basis in terms of visual form and content for his installations and abstract films. Initially expressed as a drawn line, painterly gesture or sculptural aggregation, these are then captured on paper, as a photograph, field recording, video or digital object. They serve as a notation with its own system of signs that Seidel has been developing and refining for years. The resulting work reveals itself as a hybrid, challenging the aesthetic consciousness and free associations of the viewer beyond customary categories. Left behind with the relapse into everyday life is a visual and acoustic reverberation for the observer, quietly stirring outside the strict space of rules and coordinates.