In formal terms, it is noteworthy that the framing of the respective text grid, typical of Zobernig’s more recent paintings, grows increasingly dense through the composition of colored pictorial elements, as the relationship between text
and Image blurs almost to the point of indistinguishability. The text often seems completely consumed by light and color. The explicit use of the terms INFRASTRUCTURE and NATURE addresses essential art discourses by recalling
the ethnological structuralism introduced by Claude Lévi-Strauss, which raises the question of whether empirical yet entirely relative pairs of opposites such as raw and cooked or fresh and lazy, which serve almost as leitmotivs in myths,
reveal something about their structure, about the syntax underlying them, about the “unconscious mind” that is at work within them. In no way, therefore, is the civilized “cooked” superior to the “raw” in intellectual or cognitive terms,
for both are only variants of those similar procedures for which Lévi-Strauss introduced the label “wild thought.” The “primitive” is not driven by instinct instead of reason, but rather processes specific material no less “rationally,”
simply differently, with different goals and more in the mode of tinkering.