raabenstein’s distinct excursions in image, text, and sound delve into serially structured sequences. by exposing and recombining the underlying structures of the respective medium’s topography, layers of construction emerge, whose temporal/spatial sequencing allows for various contextualization possibilities. the artist’s archaeological approach employs both complex condensations of form and equally weighted zones of looseness by integrating one or more voids into each composition.

through the quasi-binary sequence and structuring of these arranged modules, the artist’s characteristic, syncopically fractured flurry of his grid-like arrangements arises. subtle rhythmic and broken, musical configurations reeve through all three of raabenstein’s fields of activity. unlike many mathematically organized currents of modernism, such as twelve-tone or serial music, raabenstein’s constructions resemble biomorphic models, functioning as open rather than hermetical systems.

within this individual mythology, the artist uses irrational strategies to occupy unscheduled, advanced territories. through this interplay of sameness and difference, he expands françois jullien’s concept of de-coincidence. true to the saying „grey hare, new practice“ raabenstein subtly erodes seemingly rigid systems. „the steady drip wears away the stone“, is not a satisfactory attitude for overly restless people, but that doesn’t have to trouble the process implicitly.