In this way, it can be stated that in some of the artist's series of works, in addition to the kinetic-robotic construction of the object as the first work level, leaving traces of the object within a performance or action is to be understood as a further work level. In performance, the object leaves traces of its existence - its specific behavior - its movements, monochrome or with different colors on linen or paper spread out on the exhibition floor. With the series of works “Painting Traces”, “The Entertaining Aspect of Destruction” or “Thinking like a machine”, for example, a distinction must be made in the individual work analysis between: the object, the “robotic symbiotic performance” with the object and the resulting paintings and drawings. In addition, the object itself is to be analyzed once kinetically and once sculpturally or plastically and as a performance relic - which makes the conditions and possibilities of sculpture / plastic per se just as much a topic as the possibilities of performance art: in the performative painting process, the artist spans the canvas , paints the monochrome background, for example, as a painting surface and has the objects he developed drawn on it with the pencil. For the duration of the performance, artist, object and painting enter into a symbiotic connection - the paintings and objects then take on an autonomous work character - but at the same time they are relics of the same performative process: in a symbiosis of humans and robotics, generative paintings and objects are created, which in their Technologically appear aesthetic and yet anthropomorphic - they generally come from humans as developers of the machine or robot. In this way, these works also deal subtly with that relationship and thus drive a questioning of, for example, artificial intelligence or emotional intelligence. In this way, a significant characteristic of his artificial practice can be concretized for Passath's previous oeuvre: an “in between” that distinguishes his works in principle - between sculpture / object / sculpture, painting and performance, between standstill and movement, between the time-enduring state and the ephemeral moment.
Elisabeth Saubach, MA