His work offers a playful and subtle figuration: by continually subtracting points of reference, the work treads a fine line between being weathered and depleted, and conversely, entirely full of fresh content. The painterly marks that obscure and delete become potent and colourful scapes.
These works both invite a genuinely formal response but also question their own status as either paintings or sculptures. This type of distinction establishes the backdrop to Münster’s oeuvre as the presence of a set of possibilities that remain significantly undefined. Ralf Christofori writes of Münster’s work, ‘Painting is never satisfied with simply an autonomous end in itself but rather represents the point of departure for deliberate distinctions (or observations) that follow from it. (Laura Morisson)