At this moment I am working on a number of curved picture planes, trying to figure out how they register and interact through stereoscopic photography.
He suggests that the picture plane can be active rather than submissive, "critical in the way it accepts, modifies or rejects the projection upon it" (Chard 2005: 24).
We may stay indifferent and uninvolved as we gaze at the surface of the picture plane and into the depth of the construction based on linear perspective.
The disjunctive locations and displaced temporalities that formally structure the world of the work - people come and go - enable us to envisage the picture plane
as inscribed in a movement that shifts the perceptual and evaluative balance between the canonical and the hybrid, peripheral and central, refusing to settle the question one way or another.
Scholz has in particular been influenced by the work of those American abstractionists who banished spatial illusion from the picture plane
by applying color directly and flatly to the painting surface, with the aim of achieving a timeless absolute that would render all further paintings superfluous.