In the late 1990s, Anselm Reyle began to produce large-scale abstract paintings, found-objects sculptures, and installations with radiating neon colors. Exploring unconventional materials such as Mylar foil or mirrors, Reyle expands upon the prevailing aesthetics of painting and sculpture. With the help of assistants, each composition, whether a stripe painting or crumpled foil composition, can be made in any number of sizes, ranging in scale from the domestic to the monumental. Frequently utilizing motifs that have become trademarks of the modernist canon, Reyle reworks them to invest new meaning and context. “I’m interested in something that has the quality of being a cliché,” says Reyle, “I attempt to grasp the crux and to reinscribe it so that it really gets moving again.”
 Jens Asthoff, ‘Anselm Reyle, White Earth’, 2008.