SCHWITZBILD (2020) is the third ATLAS-painting Thomas Feuerstein created within the last decade. Feuerstein uses the mythological figure of Atlas, a Titan that was condemned to hold up the celestial heavens for eternity, as a reference to canvas being the carrier of an image through colour. In each work, the canvas shows convex forms in different organic shapes. Remembering of relief maps displaying the three-dimensionality of the earth’s surface in a two-dimensional representation. In contrast to the other ATLAS paintings, whose silver base is coloured with self-cultivated algae, SCHWITZBILD only reveals its colour in interaction with the spectator. In coming closer, the painting seems to perspirate a blue liquid. It emerges from holes in the surface of the painting, as through the pores of a human body. Only that the painting’s sweat is based on Methylene Blue. A synthetic colour which is used in medicine and colours all body fluids blue, when taken. In the painting it refers to the prominent status of blue pigments in art history. Or more humurous usages, like Yves Klein mixing the drinks for the opening night of his infamous exhibition “The Void” at Galerie Iris Clert in Paris in April 1958 with Methylene Blue.