The common, according to Flaubert, should be the sublime from beneath.
If the artistic production of the ideal of beauty shaped in antiquity demanded traditional artistic ability and artistry, the unimpressive and “ugly” also experience an ennobling, as constituent elements of an increasingly autonomous painting in individual experimental painting processes.

The hierarchical canon of what is worth seeing and thinking about, the virtuosity of representative “official painting“ falls apart, overwhelmed by the new process like approaches to painting. In the end the well painted asparagus dominates the well painted Madonna, not to mention the badly painted one!

Although Klaus Geigle’s pictures are immediate and fresh, the reflection of the development sketched out here can be read in them. This differentiates him significantly from the illustrative, narrative painting tendencies of today. Geigle’s painting absorbs representational elements, it doesn’t present them.

Udo Scheel (from the catalogue-test Ghostrabbits 2008)