Text by Anna T Wolgers, artist and writer

The large jacquard weaves are rich in content and powerful. Here, classical visual art intersects with digital, hypermodern weaving technology. We are led through layers of ornament, color and time markers, and it is not entirely different from the charged tapestries of history.
The reserve prints represent another energy, instantaneous. They are flat, like afterimages after a flash of lightning – traces of impressions.
Long and short processes balance the space, the complexity of the weave versus the directness of the print.

Apocalypse originally means 'unveiling', to remove the veil from the hidden. In the title work The future is a floating ship the familiar and centuries-old pattern 'crab nest' can be seen. The pattern can
be the 'cover that is pulled away'. The devastation is laid bare – the landscape is eroded, water has gushed and the earth has collapsed. In the distance rises a huge smoke, white and angular – completely different from smoke, more like an overexposed silhouette
of something we cannot even comprehend. The firmly rooted trees have caught the ships. In thin threads they float above the ground, it looks almost festive – so unthinkable! And perhaps that is exactly what it is: the
unthinkable we are facing. A young girl steps forward. With watering cans in hand, she takes care of the soil that remains.

In Stefan Uhlinder's visual world, things don't stand still – they fly, swing, grow – everything is in motion. Colors are set against each other, patterns are interwoven. It is generous and joyful, but not carefree, because a warning
whispers: take nothing for granted, all this is temporary – everything can be snatched away.