Jost Münster’s paintings and installations in wood, acrylic and paper, experiment with colour and the painted surface to create a series of works that explore the reaches of representation. Working from his urban surroundings, Münster strips away pictorial detail, flattens and collages surfaces with abstract, mosaic-like colour swatches and backgrounds. Using shapes and silhouettes derived from the interplay between architecture and the painterly aspects of real life, Münster forges a new and subtle vocabulary of forms and references.

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.”