This contemporary figurative artist from Berlin creates work that is
no longer the final word, but remains embedded in the photographic image as a symbol of meaning. This is perhaps best expressed in her recent work. She has made a series of portraits of herself, showing her with her back to the camera and her hands in front of her. The faces are as animated as the images they depict.The figures are modeled on photographs of her own family, but they are not a reflection on the other members of the family, as some people think they are, but on her. Her presence is never incidental; it is a necessary element in any portrait. She appears, however, as a ghost in the machine. She is an enigma, a figure whose presence, even in a photograph, remains a mystery.
both pure and poetic, as in the large black-and-white drawings that were included in the show. These are figurative works in the best sense of the word. They are devoid of any visual or verbal comment, and are, as the title of one of the pieces states, black-and-white drawings without comments. This is precisely what makes them beautiful. The piece entitled Nov. 24, 1982, and a dozen small versions of it can be seen as a series of forms in space. The black-and-white drawings are divided into groups of four. In one case, the lines of the lines form an oblong shape. These shapes are seemingly repeated, but they are in fact quite different from one another. They look as if they might have been made of paper and paper. They are always in the same place. In another instance, the black lines form a circle, in which there are three groups of three. The circles are also of different shapes and sizes, and they are located in the same position. The drawings, which are two-sided, look like a series of dots, in which the point of intersection is known only through observation. The same is true of the drawing called October, 1982, where the black lines form a circle in the middle of a field of color, where a third circle is located. These drawings and small pieces of paper are a beautiful exercise in perception, as they consist in a constant sense of measurement.
This contemporary figurative artist from Berlin creates work that is as aesthetically attractive as it is intellectually challenging. The theatrical images that she uses are always simply recreated in a strange new way, yet they are never completely lifeless. The images do not become maudlin and the chiaroscuro of the backgrounds intensifies the active presence of these works.The most recent and most impressive pieces are two drawings of rooms, one of which is entirely made of cardboard. The walls are covered with cardboard and painted white. A table with a white tablecloth and a bowl of flowers, the color of the light in a Chinese night scene, stands in front of the wall. An empty teapot is placed on the floor, and a teacot lies on a chair. The teacot is the only object on the floor that has any sort of distance from the teacot, so that the visual illusion that the teacot has lost its place in the folds of a teacot is impossible. On the floor, a small tree trunk has been meticulously painted white and has grown into a very large trunk. The piece is entitled Teacot, 2010. The only thing that has changed in this piece is that the teacot is no longer an object but is rather a blank slate on which is projected a picture of a tree. The trees trunk becomes a substitute for the real tree and is thus a representation of the distance between the real and the represented. In the end, the real is the representation of the representation and in this way the real is transformed into a representation of the representation. In the same way that the three pieces of clay that surround the teacot are all representations of the same thing. In them, the cardboard that covers the cardboard seems to be a representation of the same object as the teacot and the teacot becomes a representation of the teacot.
not based on the ego but on the world—for example, his paintings, which are often called photographs. They are not simply images of himself as a painter—they are also about the world as such.As the title of one piece suggests, there is a commitment to the world and an interest in its reality. The work shows us how the everyday can be a source of inspiration. Ein Herz ist Schiel (Every day is precious); the title of another work, Monogram, means little. And yet, one could say, for example, that he had created the perfect item for the everyday life. At the same time, this work is about the world, about the world as it is and as it can be. This is what the daily can be. The daily is the time of appearance and the world as a metaphor for the beginning of existence. And in this sense, the work is also about the world as it was, or as we might like to say it, as it is to be. It is an image of everyday life that can be understood as a metaphor for the world as a whole. The world as image—as a world of appearances—is an image that can be looked at and understood. It is a world, in other words, of appearances and they are perceived, interpreted, and destroyed as such by the viewer. The work is about the everyday as such, about the world as it is and as it can be.
This contemporary figurative artist from Berlin creates work that is both on the fringes of and above the line of taste. This is precisely what makes his work difficult to categorize: His pictures are so eclectic that it is difficult to know where one ends and the other begins. The paintings are in many cases either repetitious or completely divorced from the context in which they were created. In the current show, the paintings from the early 80s and the late 90s were exhibited in the same room as a collection of actual wall reliefs, a selection of recent sculptures and ceramics, and a large assortment of drawings. It is to this collection that the viewer was invited to find the most authentic. In this way, the exhibition succeeded in introducing the concept of the artist to an international public.It is certainly the artists idiosyncratic attitude toward materials that draws his work together. His paintings reveal his desire to use everyday materials that are typically not thought to be of the most high standard. The artists obsessive, playful approach to his craft has resulted in a new vocabulary of materials that is at once playful and authentic. The artists drawings, on the other hand, are the most conventional in appearance: they are often simple and straightforward, almost devoid of detail. A look at the works of these two artists, however, revealed a range of expressions that includes many of the signposts that are still used today. It is precisely the artist who has become the signpost, who, in a new cultural context, signs the contents of his or her works, and who is at the same time the signpost and the sign of the new cultural environment. In this way, the exhibition marked the return of an important aspect of modern art to the visual sphere. It also gave the opportunity to reflect on the evolution of conceptual art, which is a subject that has been increasingly neglected in recent years. In this light, the exhibitions cultural context was no less important than the works themselves.