Material pictures, collages, assemblages or object pictures?
Jupp Linssen's works are all of these, but none of them exclusively and in the narrowest sense. Linssen draws on found materials, which he makes an integral part of his pictorial works. The found objects are "poor" materials, bulky waste relics such as zinc sheets, old wooden slats and parts of other disused utensils. His sensitivities towards the material are expressed in his material and texture-oriented painting, which consciously dissolves the aesthetic boundary between the found and the artistically produced. 

... and thereby also to give its metaphysical depth and meaningfulness a tangible one, in order to "build" a material barrier in the viewer's space out of a sensual one ...[ Jupp Linssen ].

And with this he layers material in broken rhythms, creates airy volumes out of materials far removed from art and thus disavows the academic tradition in art.
For Jupp Linssen, beauty of form is unimportant, at least insofar as the body of the picture does not have to be squeezed into the frame, the surface does not have to be smooth and the material does not have to be new. For his works for space are concerned with credibility, they do not conceal their origin, they evoke memories.
All the more so when it comes to the more recent series of works of "Strings" and "Drag And Drop" (DAD), in which he pushes the abstraction of the perceptible.

"They play with romantic elements as well as pragmatic necessities. The aim is for art not to distance itself from reality, but to become a part of it.
Contrary to the usual, sometimes well-founded rebuke of abstract art, they claim something like worldly wisdom only because they can be everything (and nothing), so truthfulness and sincerity, cleverness and reflection are real in these works.
They do not presuppose the consent of the viewer. They work it out."
[ Stefan Skowron: Jupp Linssen, "Gebaute Bilder / Built-up Pictures", Aachen 2006 ]

 

In his folds, leather as a material is at the centre. It is to be given space, no frame is to contain it. But the artist intervenes with straight cuts and targeted folds. The shapeless animal skin is first brought into shape, cut to size and folded when wet. During the drying process, the material reacts, escaping exact edges and right angles. The repeating elevations look like cut-outs of a sheet metal roof.
The leathery surface can be imagined further and yet is no larger than what goes on an animal skin.
[ Nora Grundtner ]

 

... my coding is found in my leather works, starting from their surface, which leads by means of conscious  deformation towards a three-dimensionality, that is, my perception."
 J. Schwarz  folds, compresses and stretches and thus structures the given surface, at the same time creating the third dimension, erected as orthogonal to the original picture surface and thus defining spatiality - picture space or plastic space.
A precise  definition depends on the context. One could also discuss these works in the context of painting. Likewise, the hardly  used  concept of relief could be applied here.

In this 1:05 min. video, Jupp Linssen talks to gallery owner Ulrike Jakob about his latest series >.