Pictorial narrative and narrativity are presented as negative qualities, almost terms of abuse, when Scheibitz talks about painting. “As long as a picture can be retold, it is lost,” he once said. In the way that he expressed this, however, lies not only hope, but also a clue to his artistic method, because according to this logic, the moment a picture can no longer be narrated or retold, it is also no longer lost. For him, it seems, a picture is only created through the process of making-it-no-longer-narratable. And perhaps this specific birthing process should be imagined as being not entirely dissimilar to processing an image with the tools in the Photoshop toolbox. Because abstraction – if one takes the term seriously – never starts out from non-objectivity; it merely moves in that direction, precisely by abstracting realities. And the procedure clearly amounts to a balancing act in every respect: abstraction and figuration; suspicions of recognisable realities in worlds of the unseen.