The art of Wolfgang ‘Iki’ Troschke, a for­mer uni­ver­si­ty lec­tu­rer, gra­phic artist and pain­ter born in Hilmarshausen in 1947, has always been an extra­or­di­na­ry blend of mytho­lo­gi­cal ico­no­gra­phy and pain­ter­ly impro­vi­sa­ti­on – influen­ced by the mas­ters of German Informel, many of whom he knew per­so­nal­ly and whom he led to new heights: in sto­ries about sym­bols that view­ers repea­ted­ly belie­ve they reco­g­ni­se in cros­ses, ships, shields, gates, gril­les or masks, only to slip away again the moment they rea­li­se what they are.
Now, to the gre­at sur­pri­se of ever­yo­ne who knows him, the­re is a ‘new Troschke’ who, in his art, is still inspi­red not by the ori­gi­nal­ly white, unble­mis­hed can­vas, but by traces found on the pre­vious­ly pri­med can­vas or traces on the prin­ting pla­te, lea­ding to decis­i­on-making and a cele­bra­ti­on of colours and forms in the pic­tu­re, but in terms of colour and struc­tu­re, it is com­ple­te­ly dif­fe­rent from befo­re:
new, won­derful works of art in unex­pec­ted colours and forms have been emer­ging for two or three years now in his typi­cal ‘Troschke pro­cess’: the new Troschke!