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Desto's works digest their contextual origin, their chosen form and their future. They’re on stand-by in their transport crates and flash drives, they stretch and waltz through exhibition spaces or form their own future iterations through being sold:

In the painting series Factor, Age & Means (F-A-M), the economy of art production turns itself inside-out, resulting in a distorted diary on canvas, a dry-humored witness of life, external influences, and artistic & professional failure or success. The series sheds light on my own (non-) involvement in the art market and the motivation behind the decision to paint. It reveals its own financial realities by inserting them into its upcoming motives.

Latex paintings like Gebanne can be large-scale yet logistically space-saving works, which - through their slow but inevitable decay- amplify the urgency of exhibiting them. As paintings without a carrier medium, detached from any base surface, they consist of nothing but brush strokes, making them objects of pure painting.  They question the limits of artistic disciplines, as well as our expectations towards them. In enormous sizes, they find no space in many exhibition rooms; here, the painted motif disappears behind the act of exhibiting the piece.

The hand-drawn line in Gestatten transforms the function of the business card, turning it from designed stackware and navigational aid within the art industry to a study object in need of correction. The assertion of one's own person(a) within the art world is tied to the authority of the manual line over the printed matter.

The ink drawings of the Szenebild_ series trigger a constant image-reading. Pictorial spaces and situations intertwine with one another in passionate dissatisfaction, until only drawing itself remains. This supposedly won essence is immediately revoked by exhibiting the drawings exclusively in digitized and reproduced form. However, a high resolution enlargement of the drawings suggests more information for the human eye than the originals could provide.

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