 And while Reyle often works within the tradition of object trouvés he does not rely on appropriation as in the work of, for example, Louise Lawler or Elaine Sturtevant.Instead Reyle uses his highly refined aesthetic vocabulary to question the role excess plays in the postmodern market by collapsing and mixing these various traditions in unexpected ways.Indeed, by exploiting both historic languages and simultaneously developing an evolving vocabulary of new industrial practices and mass production methods he is able to reflect upon the various “blind alleys of modernity.”

Reyle’s fascination for high gloss effects and decorative material taken from the merchandising world frames his critique of kitsch, and what the artist has described as “a tightrope walk that can be painful all the way.”.