In the mid-nineties, Kerim Seiler paints Zurich city furnishings on found pieces of fiberboard. Chosen workaday design serves as ready-to-paint object and is protocoled in pictograms. Seiler's paintings dissolve into single elements turning three-dimensional. His work becomes walkable and can be viewed from behind. One stands within the picture, "inside of the outside", so to speak. Perspicuity and practicability lend Seiler's work the claim of social sculpture, without depending on fundamental contentions. Through flexibility and humor, the sculptures emit an integrative quality. The work of Kerim Seiler is always on the road and sometimes the guest of nice people.

A. C. Kupper