Anywhere Else (2017-2018)

You May Not (2017-2018)

Trouvailles (2017)

The works "Trouvailles" were created between october and december 2017. These are reflections on concepts of archaeological excavations. The works seem like three steps or three different views of an excavation concept. On closer inspection, one makes layers and structures.

Unfold (2017)

The diptych "Unfold" was created during spring and early summer of 2017 in Paris. It shows an abstract construction - it could also be a folded cardboard box. Tensions arise from small details that mislead our logical understanding of space and perspective. Our perception changes.

Contain (2016-2017)

Distorsion (2016)

The two medium-sized paintings were made in Paris in 2016 and show a vertically oriented composition, which, on closer examination, has a dynamic orientation to the diagonal. Twisted angles bend in the same direction. This results in a tension that tends to become more and more deformed. These works could be influenced by scientific models from the physics ...or merely sheet metal damage of a car-crash.

Old and new Houses (2016)

"Old and new houses" is a single medium-sized painting. The work consist of oil paint, industrial metal paints and quartz-sand. The attentive observer observes two compositions, each with a different orientation, two compositions that are superposed and connect in certain places. The concept comes from archeology and the compositions are floor plans. In the excavation of historical sites, the researcher sometimes finds such overlaps of house plans from different epochs. The orientation and the organization of a city has changed between two phases of settlement, although some marked points and points of intersection remain through several settlements. A city is constantly evolving and changing little by little - rarely large-scale, except for major disasters - to the changing needs.
The painting-composition of «Old and New Houses» also includes a change of perspective: the two floor plans are embedded in a modern facade form. The spatial understanding mutates from a horizontal one to a vertical one.

Mercator II Explorers (2014-2016)

The further development of the paintings "Mercator" brought an increasing importance to the itineraries of explorers of the Arctic. Fragments of these routes have been selected and dominate the compositions of these works. Reflections of these path fragments also occur. Historic ship routes from Nansen, Long, Peary, Hill, Franklin, but also Cook, Bering, et others served as a template.

Mercator I (2014-2015)

The "Mercator" series dates from 2014-2015 and was created in Paris.
These are bi-colored, conceptual paintings. Their relatively low contrast requires a careful and prolonged look. These paintings evolve according to lighting and the underlying layers become visible. A fragile metal construction, inclined and in slight imbalance dominates these compositions.
This work was influenced by cartography, measuring systems and concepts of space perception.

The Mercator projection is a cylindrical map projection presented by the Flemish geographer and cartographer Gerardus Mercator in 1569. It became the standard map projection for nautical purposes because of its ability to represent lines of constant course, known as rhumb lines or loxodromes, as straight segments which conserve the angles with the meridians. While the linear scale is equal in all directions around any point, thus preserving the angles and the shapes of small objects (which makes the projection conformal), the Mercator projection distorts the size and shape of large objects, as the scale increases from the Equator to the poles, where it becomes infinite.

Convergence (2014)

“Convergence” are square small formats. An angular shape seems to be delivered to a bend. The orientation of the lines becomes dynamic, seems to shift. The starting point for these compositions was a children's drawings by the then two-year-old son of the artist.


Wide Angles (2009-2010)

The series "Wide Angles" is from 2010. These are small size-paintings on wood or canvas, mostly diptychs. The works are composed of very few colors: blue, silver and white. Work focuses on structures and light. Were used (in addition to oil paint with a textured surface) colors from the industry, from daily life in the city, next to metal paint, road marking paint, sand and reflecting additives. The pictures are dominated by simple forms in balanced, slightly unstable structures, and metal trays in a monochromatic field. The wealth is in what is almost not perceptible, only an attentive viewer will be able to benefit from it.

Transmission (2009)

The large-sized panels "Transmission" were painted in 2009. It is a conceptual work with a reduced range and style. The gray color mass covered most of the scene and is structured and almost monochromatic. A metal-colored structure is embedded in it, finely balanced, but fragile and uncertain.

Strange Behaviour (2009)

The paintings "Strange Behavior" were created between March and September 2009. These are cryptochromic paintings, what means paintings that colors seem not visible at the first sight: hidden, imperceptible. The paintings are dominated by large areas of a gray mass of paint applied with a textured surface. In it one will find inserted a sharp-edged metal-colored design. These paintings give the impression that the image was hidden behind a curtain or painted over. The color and the forms reveal themselves only after prolonged observation. The visiblity of colors and figures and all sorts of non-abstract bonds depend on the exposure to light. The image formats are unusually diverse and go from larger multi-part works to very small sizes.


Permafrost (2007-2008)

The painting "Permafrost" was painted in 2007 in Paris. It is a two-part work of very different sizes and with a space between the elements. The painting is of very claer color and the work of materials is predominant.


Winner's Curse

The painting "Winner's Curse" (2010) examines our way of seeing. A composition that appears balanced shows a bright zone between two thick black streaks of uneven surface quality. These dark zones seem to threaten the central zone, increasingly to crush, absorb and conceal it. The richness of the material will gradually diminish, depending on the lighting ... artificial light, light of the different times of the day. As always with Tristan Rain, the painting seems to develop unrestrictedly and becomes a long-term visual experience.
The Painting is from 2010 but seems to reply as a conclusion to the séries "Caligari Stairs" from 2006.

Caligari Stairs (2005-2006)

The series "Dead End (Caligari Stairs)" was created in Paris between spring and May 2006. After the paintings "Probabilities", where the room almost completely vanished, it appears in these new paintings again. Perspective fragments of a staircase suggest a depth and stand against the flatness of the construction of the painting. The below and the above are questioned, the weight of the image's structure seems incomprehensible and contradictory. The flow of color is in competition with square knotted surfaces. Here and there a person seem to break through these constructions.

About Beauty (Berlin, 2005)

The series "About Beauty" was created in Paris between autumn 2004 and spring 2006. It is a pure painting on the brink of abstraction. A kind of knots dominate these works and penetrate angular designs in wide field-green color. Smooth flat surfaces and gray-black bars cover up and break through these structures. Monochromic colorfields cover up half of the painting. They seem monotone and as applied in an industrial way, it appears, however, on closer look, and depending on the quality of light : fine structures, accumulations, underpainting, scratches, abrasions...

Berlin Window (Berlin, 2003-2004)

The series "Berliner Fenster (Berlin Window)" was created in 2003 and 2004 in Berlin. Originally a project of stereoscopic photographs was planned, but the camera never arrived in the Berlin-studio. Since 2002 Tristan Rain studied the complex history and urbanism of some places in Berlin (like Alexanderplatz, Mehringplatz (formerly Belle Alliance Platz), Pariserplatz and Potsdamer Platz). The studies and preparatory work led to a series of diptychs of paintings, each very different in character, as the places themselves, and which have as subject the dialectic of this important urban, social, traffic and historical centers.

Probabilités (2001-2004)

The painting series "Probabilities" was created in 2001-2004. Questions about aesthetics and perception dominate the conception of these works.


Rapports humains (1996-2000)

The almost 40-part series "Rapports humains" was created from 1996 to 2000 in the studios on the roofs of the Bastille Marais district, and in Asnières-sur-Seine, a major site of van Gogh. It explores the complexity and the depth of existential loneliness. Many materials of daily living, such as glass, newsprint, toilet paper, sand, metal dust, human hair were used and added to the paint.

Double-Portraits (1996-1998)

"Double Portraits" is the first major series of works done in Paris. The series consists of 30 paintings and was created between 1995 and 1997, almost entirely in the Marais-studio in Paris. It is about the coexistence of opposed personalities inside the same person.

1993-1995 (Works of Youth)

Portraits latents (1995)

Theses small paintings seem monochrom black. A change of light make portraits visible.

Nachtlandschaften (1993)

Polyptychs of different sizes. All works are lost.

Single Works (1993-2016)

Single Works (1993-2016)

"Colorful" works such as "Alpine Landscape" are rare in Tristan Rain's work. The painting impresses by its chromatic harmony and its richness of forms in a composition that are skillfully dosed. The play between flatness and depth, structured materials and transparent veils gives a note of freshness. It is a canvas that offers the pleasure of a progressive discovery, as a hiker the spectator can leave to discover. The work of contrasts and angular shapes, material wealth and metallic colors is revealed little by little according to the light of the space where the work is exposed ... artificial lighting, lights of different moments of the day. The subject of the alpine landscape comes back from time to time in the work of Tristan Rain and testifies to the innate taste for the high Swiss mountain of this Swiss artist.