In a playful and experimental way Kriesel lets the viewer dive into a magical, almost wondrous world. At the same time, he confronts the observer with the absurdity of the real world of data flow, the attraction –as well as the overflow of information– of a world full of violence and frustration, but also absurdities and humorous extravagance.
The observer can get lost in his pictures, very often finding multiple different scenes. These “Wimmelbilder”/Swarm paintings/Teeming paintings” cannot be deciphered at first sight –as the viewer can always find new topics and things/objects. This visual surfeit is Kriesel’s translation of the current flood of images, videos, opinions and information that arise through television and, especially, the Internet. Like in his “Grimace carpets”, one piece of work can contain extremely dark worlds, and at the same time funny and absurd situations.
This clash, which Kriesel observes in the real world and which has so much influence in his work, is identified by him as defective (“Defectivism”).