„In the absoluteness of his artistic claim Hubertus Reichert stands in an important tradition. The paths to his forefathers are wide-branched, to which he owes inspiration and insights into the functions of material and technology, the interplay of color, surface and form. (…)
Above all else, a picture by Hubertus Reichert is a flat, color-processed surface. Always starting from one or two pure colors, which are different in their valence only by different density, by solvents and the type of paint application and glazes in their valence, but mixed on the large to huge formats initially almost delicate color surfaces with different brightness values, in which through glaze layers much light is captured and color spaces are created. More and more overpaintings that result from the deliberately created structures lead to a high density, and finally the painter pours larger quantities of paint onto certain zones and lets them run. In doing so, he precisely controls the relationship between coincidence and necessity.
That is, the downflowing paint creates flow marks, stripes that can be directed by turning the canvas or further processed with the brush. At the edges of the drying paint, the layers can sometimes be read, there are shiny and dull areas, sometimes flat relief structures. Everything is focused on perception, the image is created in the eye of the beholder.”
Source (german): Farben sehen (Seeing colors), by Bettina Blumenberg / Catalogue of the exhibition at the Center For Advanced Studies, Ludwig-Maximilians-University Munich, 2014