The composition of the minimalist drawings is based on diagrams that contain data, information and specific facts. Provided with programmatic titles - "The Great Plan", "The Master Plan" as well as "The Plan B" - they show in a succinct manner a temporal sequence of events, which are marked by the indications "from here - to - there - to - there - and then somehow further". The diagrams represent linear temporal developments, but the artist leaves the starting point, the stages to be covered, as well as the destination in the nebulous. Michael Merkel uses the vagueness of the content, which stands in stark contrast to the data-based and thus scientific statement of the chosen form of representation of the diagram, to confront us with the unplannability of certain events or strokes of fate. In his research at the NCT/UCC, he has dealt intensively with the experiences of a psychooncologist and a researching physician. For both actors, as well as for the patients, the questioning of certainties and predictability in the course of treatment plays an important role. It became clear that all prognoses always carry a factor of uncertainty. The schematic drawings counter this uncertainty and insecurity and thus have something quite comforting about them. Because they make the direction clear: It goes forward, step by step, the path is the goal. It is important not to have to walk this path alone.
The aspect of care and provision is also the central theme of the gauze bandage objects. The monochrome images are made of used bandage material. Their abstract surface is structured by the running direction of the bandages, they are thus reminiscent of works of the Italian art movement "Arte Povera". Here, artists in the 1960s conceived minimalist works from so-called "poor", often found materials.
