Once again, this time with what is now his seventh solo exhibition, we surround ourselves with the figures of Giebe's 'world theatre', confronting us with the creatures and pictorial symbols of his brush. They were and continue to be the main subject of his work: sometimes puppet-like, sometimes endangered figures, brutal-looking fragments, bizarre objects and symbols populate suggestive, horrifyingly rigid scenarios, which the artist calls up as a director and forces into narrow pictorial spaces.

Aside from the Sisyphus work on the 'historical image', Hubertus Giebe formulates a no less forced, no less demanding pictorial language in traditional subjects such as the portrait, the nude, the landscape or the still life, determined by the same expressive style, the same powerful colouring, the same reduction of form and sharpening of contour. Time and again, dynamic movement and shimmering, luminous colouring are juxtaposed with dull rigidity and shattering motionlessness. In this, he is a close relative of Oskar Kokoschka, Max Beckmann and Otto Dix.