Philipp Fröhlich presents his third solo exhibition at the Galería Soledad Lorenzo, Madrid, consisting in a selection of paintings completed over the past two years. Once again, he offers fragmented landscapes and uncompleted stories in which something is likely to have happened or is about to occur. Through the application of the same process of creation in which he first imagines a scenography for a certain incident then builds a model and finally translates it onto a canvas, he provides us with scenes charged with mystery. In fact, Fröhlich uses that process in each of the 18 pieces of tempera on paper, as well; from the imagination to the model and then from the model to the paper. The difference from the canvases is in his point of view: both interiors and exteriors (a restroom, escalators, the entrance to an underground, a street and two houses) are observed from diverse perspectives, which show a deliberate and conscious way of approach.

The title of the show in itself is an invocation of Remote Viewing, the ability that allows the perception of extrasensory information, in this case through faltering scenes where the absence of humanity sets free all the suspense and mystery that emanates from every piece of his work. Unfinished stories, half unveiled, that built on a moving representation of the intrigue.

Additionally, in a number of these paintings, some element blocks the sight making the observation of the entire scene impossible, delegating the responsibility to the spectator to act as a witness. The complexity of the paintings lies in the technique of the artist: a slow process of painting temperas on canvas and paper. Either way, the work of Philipp Fröhlich can be characterised by the representation of empty landscapes and mysterious scenes that gain their artificiality by means of creating a scenography and an amazing use of light that results in moving atmospheres full of tension.

In the end, Remote Viewing is a reflection on the power of imagination in the service of painting.