Pictures act as sovereign, autonomous and particular form of existence, which do not have to be linguistically developed and translated nor which solely function as indicators or symbols for other contents. Those who have studied the development of the fine arts since the beginning of modernity, are well aware of this aspect, as a fundamental basis of the development itself. Endy Hupperich’s (1967, Kaufbeuren/Germany) work reflects such thoughts intelligently and multidimensional - a cognition via images, within today's world of images. What may at first sight resemble Pop-art or a form of post-modern quotationism, is possibly rather painted media theory, or even -ontology: a measurement of the world, a measurement of the space, which the paintings encompass. Thus also the much too rarely considered space between the actual paintings. Therefore the traditional, separately composed and painted self-sufficient art work plays a diminishing role for Hupperich, while the notion (so to speak) of interrelated paintings becomes increasingly more important. Thereby the various paintings are mutually referential, as well as towards an implicit general context. Motives and pieces of mock-style, all taken out of the empirical visual reality which surrounds Hupperich (as one of us, among us, with us), are realigned in ever new contexts and experimental lay-outs, like scientific samples. The focus however, is not on the continuous common thread, but in the sense of a network of many different, intersecting, appearing and disappearing similarities; (it finally is the task of the viewer, to reconstruct these similarities in their synopsis - Theoreia - as a whole). © Peter T. Lenhart