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A mirror comes into life in the moment it reflects something. The

mirrors of Arnulf Komposch however virtually begin to create their
own reflections in the empty and motionless state before
productiveness starts, bringing themselves into being. If the
viewer’s glance is drawn towards these mirrors, their world
changes into an artistic magic cabinet of precise as well as
infinitely variable, but always aesthetically appealing regularity,
the show room turns into a theater, and the viewer turns into a
player, an actor, a mime. The mirrors of Arnulf Komposch provoke
the playful experience of acting with infinite kaleidoscopic projections.
This provocation is tantamount to a compulsion, as it is almost
impossible to remain motionless, to stand paralyzed in front of a
Komposch mirror. Regarded in this way these mirrors do not only
resemble a kind of mobiles made of light rays, but are also eminently
theatrical objects set in motion by the viewer, while the viewer too
is kept in motion by them. Permanent transformation is: the
transformation of reality into new forms. Being in permanent motion.
An almost futuristic dream, becoming a truth of the mirror. The
mirrors of Arnulf Komposch reflect the trends of current artistic
ambitions in an entirely independent manner, they strike a pose,
are posters of glass, inviting the spectator to play with them, they
create space which can move and be filled with movement. The
room presents itself as a theater, and finally the mirror player is
offered the chance to go on a trip to aesthetically schizophrenic
worlds, using the drug of optical laws. The mirrors of Arnulf Komposch
are communicative objects establishing contact between the individual
and the work of art, overcoming the isolation of both, in a natural and
absolute way.