“Journey Without End” brings together works by Jens Einhorn that explore existence, time, and transitions—experiences and perceptions along the path through the image, through the world, and through one’s own life. Many of the images appear as snapshots of an event—moments in which something is emerging or disappearing. They move between abstraction and figuration, opening up pictorial spaces—more like inner landscapes than concrete places. Within them, the experience of being placed in the world is revealed—in time, history, and social constellations: a moment of heightened perception in which interior and exterior, self and world, light and shadow interpenetrate. Perhaps an image begins precisely there, in a moment when it is still unclear where it is leading. Many of the works are biographically influenced. Einhorn grew up in East Germany during a time of profound social upheaval and was surrounded by places in transition: industrial wastelands, urban peripheries, and improvised interstitial spaces where subcultural scenes formed in the 1990s. For example, the image *Wendekind* refers to a generation that grew up during the transition between political and social systems. In an abstracted urban landscape with echoes of prefabricated buildings and in-between zones, a figure appears—at once present and lost. It stands not only for individual experience, but for a state of in-between: between familiar orders that are disappearing and new social narratives that are not yet tangible. This experience of transition is also reflected in the painterly approach. Work rarely begins with a blank canvas; often, supports are used that already bear traces—reused canvases, parts of older paintings, materials from the studio. Through layering, overpainting, extraction, and collage, pictorial spaces emerge in which their creation remains visible. Collage becomes less a technique than a way of thinking: an open process in which signs, layers, and fragments of images give rise to new meanings. Alongside such phenomena, animals appear time and again, as do symbols and cosmic formations. They seem less like illustrations than poetic presences within an open pictorial space—as counterparts in which a different, more immediate form of existence reveals itself. The title Reise Ohne Ende (Endless Journey) refers to the processual nature of the works. It does not describe a destination, but rather a state of perpetual movement. The images themselves also appear as stages in such a journey—snapshots of a journey through experience, memory, and imagination.