Herbert Hinteregger --
[…] [Herbert Hinteregger’s] work is based on the principle of anarchic reduction. In his DIN A4-format drawings, monochromatic paintings and murals, he limits himself to ball pens or to their respective inks applying it not gesturally, the way Belgian artist Jan Fabre does, but in a painterly manner. His drawings are made by pressing the thick, viscous ink out of the refills directly onto the paper and the paintings by brushing on the raw material obtained from the factory over the entire surface of the canvas. The motifs that are oriented to the vocabulary of geometric abstraction often refer to organic forms and appear in a way romantic or even autistic.
Herbert Hinteregger’s artworks display an “emptied depth.” [His] wall paintings––one or many horizontal lines running parallel to each other, made by brushing ballpoint ink directly onto the wall––appear compact while they define and measure space. At the same time, they also stake out an expanse that is transcendental in quality. The partly large-format monochromatic paintings present the beholder with an iridescent surface, a dark, mother of pearl-colored sheen that seems to draw away from the focusing eye, but also functions as a mirror of reality. Herbert Hinteregger’s works are characterized by the manner in which they expand space and orient themselves within a given spatial situation. By incorporating and internalizing architectural conditions, the work assumes a contemplative character whereby the borders between real and fictitious space seem to be annihilated. […]
Moritz Küng, in: exhibition catalogue Herbert Hinteregger 1999, Galerie Georg Kargl, Vienna 1999, no page.