Green Lemons

LA BIBI + REUS is pleased to present the first solo exhibition in Spain by Austrian artist Paul Riedmüller. Green Lemons is an exhibition that invites visitors to explore the boundaries between perception and representation, while expanding the practice of painting from an installative perspective. The title acts as a metaphor for an unfinished process or a state of becoming, suggesting that the painting process is never truly complete, but always evolving. On this occasion, Riedmüller presents a new body of work created during his residency at the gallery, deeply influenced by the landscape of Mallorca and his everyday experiences on the island. This influence is reflected in each piece, from still lifes and landscapes to spatial interventions that transform the exhibition space into an immersive environment. Riedmüller’s creative process is a thoughtful combination of technology and tradition. Each work begins with the creation of digital renders that act as three-dimensional sketches for his future paintings. This meticulous process not only extends the time the artist dedicates to the objects he represents, but also amplifies his awareness of them, endowing his paintings with emotional and conceptual depth that transcends the purely visual. The final works, executed in oil and airbrush, display flawless technique that dialogues with the digital tools that preceded them. The exhibition also stands out for its use of the gallery space. Riedmüller challenges the traditional conventions of painting by integrating articulated structures that pull the works off the wall, bringing them into three-dimensional space. A highlight of the exhibition is a central wall that houses, on either side, paintings of Mallorcan windows. These works transcend their classification as "paintings" to take on an almost sculptural identity, evoking architecture and suggesting the idea of a building within the gallery space. This gesture creates a dialogue between the interior and the exterior, between what we see and what we imagine, highlighting one of the artist's central concerns: questioning the way we construct and inhabit visual reality. In this sense, Riedmüller’s work aligns with Jean Baudrillard's theory of the simulacrum. His paintings, based on digital renders and later materialized on canvas, confront us with a representation that does not seek to imitate reality, but generates its own hyperreality: a space where the boundary between the image and its referent dissolves. This play of simulations and artifices reminds us that we live in an era where images have gained their own autonomy, redefining the way we perceive the world.