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All About Nothing is dedicated to the familiar. Galle uses motifs such as floral still lifes and human and animal figures to articulate calm but concise reflections on the world he depicts. In addition to his naturalistic, sensitively painted works, which are rooted in the classical tradition, Galle also creates paintings in which different techniques and styles converge and merge. Established painterly vocabularies meet contemporary pop culture references, opening dialogues across historical and cultural boundaries. His works testify to an ongoing engagement with symbolism and attributes closely associated with the Leipzig painting tradition.
In the end, it boils down to the question, is it all about nothing? Looking at Galle’s works, his meticulous study of tradition and technique, sensitive palettes, diligent use of contour and the devoted engagement with scenes and subjects, point to a deep, almost anthropological commitment. His many depictions of nature and the humanimal draw from emotional states, capturing fleeting moments and immediate encounters, reflecting an acute awareness of time’s transience. This human endeavour to capture life begins at least sixty thousand years ago with Neanderthal cave painting and continues throughout recorded cultural history. The accumulated effort of our species to document, shape, and imagine the world has proven to be a remarkably effective way of crossing the barrier of time. We may know little, but what we do know about humanity comes largely through art and culture. Facing existence, the human instinct creates to stay alive. Octavio Paz once wrote, will for life is will for form; the first thing man did upon discovering he was mortal was to erect a tomb. In his sense, art begins with mortal consciousness, providing both a response and a medium. We die but we live with intensity, and what we create allows us to speak across time. We are born to care and create; art is our rebirth in the dialogue of history.