The two principles of his production - strict formal architecture and lucid color application with a strong spatial effect - initially seem to be mutually exclusive. In fact, the conditions of painting - the classic contradiction of image and real space, the effect of form and color - are fundamentally questioned again with regard to their validity for contemporary image production. This synthesis of rational order and layers of color that can be experienced sensualy is not a confrontation, but a dialectical contribution to the discourse on the inevitable illusion of spatiality, even in completely monolithically painted pictorial surfaces, which, above all, have determined European art more or less obviously since it relied on the ideas of idealism. From this point of view, Pedro Boese's paintings seem like a reflection of international modernism on itself. (...)"
Text by Susanne Prinz published in the folder "grids and grooves", Berlin 2008