Alois Mosbacher sees the process of exploring the image material he finds as a sketch from which he derives additional levels of meaning through the process of painting and drawing, and which he uses to probe the possibilities of a new iconography of the landscape painting. Mosbacher contrasts the idea established since the Romantic period of the woods as a melancholic idyll with the very much older idea of the woods as a synonym for the unexplored, the dark and the frightening, which he brings dramatically up to date using unexpected props from contemporary civilisation - apparently forgotten travel bags, a covered car, an uninhabited hut. The woods appear as a utopian space for counterworld models, as a refuge for outsiders, and equally as a scene of and backdrop for crimes. This ambivalence and ambiguity of possibilities develops beyond moral implications in the individual pictures as well as in the narrative that emerges between them.
source: Secession, Association of Visual Artists Vienna Secession