David Schutter’s works do not simply take an art historical painting as a model. Rather, his paintings demonstrate the attempt to technically and metaphysically depict the complexity of relations that Shutter finds in Ruisdael, Rubens or Rembrandt in a similar manner to an art historian. Yet, his own and original artworks transform their basis with a distinct contemporary quality. He manages to do this like no artist before him. Shutter treats the old masters like an object whose color and abstract structures are to be transformed into paintings of grey valeur. In this way, an abstract painting comes into being – one that does not find its point of emergence in an intuition, but rather one that allows its color to operate as an abstract agent, as a substrate of thinking, remembering and existing. The paintings, that seem like abstract landscapes at first, are dominated by the turbidity of grey colour making the paintings both contemporary and somewhat period-less.
(Mark Gisbourne in “David Schutter: Sight Threads, Sense Threads”, Translated by Efremidis Gallery)