Drawing in ink
"Models and their significance for the artist’s own biography, their influence on her work, the processes of appropriation and role play, and the way in which the artist approaches her own work are also the theme of a series of drawings in Indian ink created in a loose sequence since 1994: precisely structured sheets featuring highly abstract and reduced figures executed with a virtuoso economy of line. The motifs are partly inspired by mythological themes from Antiquity or allegorical representations from early art history (Pegasus, Medusa, Justitia); partly they refer to topoi of artistic self-representation. For instance we recognise charismatic figures of identification from the more recent past by their image-forming attributes (for what would Joseph Beuys be without his army vest?). Although the laconic titles provide pointers, it would appear that part of the work is intentionally designed to provide a certain measure of hermetic encapsulation and a need for explanation of the scenes, many of which are quite cryptic and at times difficult to interpret. Besides the reference to artistic role models with which the artist's own person may be at one (Vorbild, Ich als Lee Marvin), there is also a not insignificant number of references to her own works, which of course only those familiar with them will be able to pick up on. They are integrated into highly symbolic or quasi-narrative connections, as for instance with the bottomless Box II, the Medusa braids, the combination of foam and woollen glove entitled Frechheit or the seemingly free-floating sponge-and-plasticine wall object." Ulrike Matzer (translation: Stephen Grynwasser)
"Models and their significance for the artist’s own biography, their influence on her work, the processes of appropriation and role play, and the way in which the artist approaches her own work are also the theme of a series of drawings in Indian ink created in a loose sequence since 1994: precisely structured sheets featuring highly abstract and reduced figures executed with a virtuoso economy of line. The motifs are partly inspired by mythological themes from Antiquity or allegorical representations from early art history (Pegasus, Medusa, Justitia); partly they refer to topoi of artistic self-representation. For instance we recognise charismatic figures of identification from the more recent past by their image-forming attributes (for what would Joseph Beuys be without his army vest?). Although the laconic titles provide pointers, it would appear that part of the work is intentionally designed to provide a certain measure of hermetic encapsulation and a need for explanation of the scenes, many of which are quite cryptic and at times difficult to interpret. Besides the reference to artistic role models with which the artist's own person may be at one (Vorbild, Ich als Lee Marvin), there is also a not insignificant number of references to her own works, which of course only those familiar with them will be able to pick up on. They are integrated into highly symbolic or quasi-narrative connections, as for instance with the bottomless Box II, the Medusa braids, the combination of foam and woollen glove entitled Frechheit or the seemingly free-floating sponge-and-plasticine wall object." Ulrike Matzer (translation: Stephen Grynwasser)
