They are running, skipping, falling, they are looking at each other, playing with each other, they are making love or doing nothing at all—but they are always together. The concept of tribe —the group, the collective— is at the core of Marlon Wobst’s most recent work. Marlon Wobst is sensitive to the present and his own time: he represents what he lives and what he sees. His aim is first one of a detective/researcher/ His agenda is that of a researcher, investigating human beings, for human beings. Whether an empty bedroom or a desolate landscape, the human figure is not necessarily visible in all his works; yet each scene, each situation is a reminder of civilisation and what it imprinted. The artist’s gaze is tender and insightful: the fragility and flaws which each being attempts to hide are here displayed with delicacy and poignant humour.

When he was younger, Marlon Wobst as a rule never painted more than one subject in one work so as not to get distracted. Today, he allows himself to add a multitude of characters, to accumulate bodies, flesh, limbs into a joyful, colourful chaos.

[…]

Through Tribus (Tribes), Marlon Wobst offers an ensemble of works demonstrating his skills both as an observer and as a researcher of human life. It is/ The works are a testimony of his curiosity, his desire to experiment, and his constant refining of the subtle dialogue between the material and the narrative potential.