01.11.2024 - 01.02.2025
Opening: Friday, November 1, 2024, 7 pm
Introduction by Leonore Leonardy ca. 7:30 pm
Exhibition Duration: November 2, 2024 to February 1, 2025
In the solo exhibition "Now Now," artist Katharina Hinsberg presents a selection of her latest works. The exhibition guides visitors through various series, including the paper works "Farben (Säume)," "runden," "Schraffen," and "Ajouré," providing a comprehensive insight into the artist's creative process. Hinsberg investigates the relationship between line, surface, and space using minimalist techniques that may initially seem reduced but reveal immense complexity upon closer examination.
The exhibition thoroughly engages with the theme of reduction and the discovery of freedom within these constraints. Hinsberg primarily utilises minimalist, basic materials—coloured pencils, scalpels, and paper—demonstrating how conscious limitation can lead to surprising variety and depth. She follows a clearly structured yet open process: the drawings emerge from repeated movements that reference the format of the sheet, with gestural elements such as circling playing a significant role.
In the paper works "Farben (Säume)," she employs limited available materials to make compositional decisions and rhythmically arrange colours and structures. These materials consist of left-overs from drawings and copier sheets originating from earlier works in the "Farben (Sequenz)" series. The strips, partially marked with printer details and other traces of the production process, are reassembled. She uses collage and montage techniques, ensuring that the connection to the creation process of the original drawings remains evident. Through this approach, Hinsberg creates a kind of visual history that emerges from recycling materials while also posing compositional questions: How do rhythms in colour selection arise? What subjective choices lead to specific colour combinations? Hinsberg intentionally incorporates chance and the limitations of available materials into her artistic process, extracting unexpected freedom from reduction.
Cutting plays a pivotal role in Hinsberg's work. While drawing is a direct, conscious movement, cutting adds an additional dimension to the pieces. By cutting the lines in "runden" and "Schraffen," openings are created that reveal the wall or space behind them. This action actively transforms the two-dimensional surface into a spatial experience or towards a 'behind.' This permeability allows for transitions from the closed paper surface to a new openness that interacts with space and involves the viewer. Hinsberg describes cutting as a quieter, more reflective process in which creative work recedes to yield to the demands of the material.
The title of the exhibition "Now Now" alludes to the tension between immediacy and duration, encouraging visitors to explore the relationship between spontaneous drawing and meticulous repetition. In her work, repetition is not merely reproduction; it fosters differentiation—each iteration fosters differentiation and opens a new space, and each gesture alters both the preceding moment and itself.
Introduction by Leonore Leonardy ca. 7:30 pm
Exhibition Duration: November 2, 2024 to February 1, 2025
In the solo exhibition "Now Now," artist Katharina Hinsberg presents a selection of her latest works. The exhibition guides visitors through various series, including the paper works "Farben (Säume)," "runden," "Schraffen," and "Ajouré," providing a comprehensive insight into the artist's creative process. Hinsberg investigates the relationship between line, surface, and space using minimalist techniques that may initially seem reduced but reveal immense complexity upon closer examination.
The exhibition thoroughly engages with the theme of reduction and the discovery of freedom within these constraints. Hinsberg primarily utilises minimalist, basic materials—coloured pencils, scalpels, and paper—demonstrating how conscious limitation can lead to surprising variety and depth. She follows a clearly structured yet open process: the drawings emerge from repeated movements that reference the format of the sheet, with gestural elements such as circling playing a significant role.
In the paper works "Farben (Säume)," she employs limited available materials to make compositional decisions and rhythmically arrange colours and structures. These materials consist of left-overs from drawings and copier sheets originating from earlier works in the "Farben (Sequenz)" series. The strips, partially marked with printer details and other traces of the production process, are reassembled. She uses collage and montage techniques, ensuring that the connection to the creation process of the original drawings remains evident. Through this approach, Hinsberg creates a kind of visual history that emerges from recycling materials while also posing compositional questions: How do rhythms in colour selection arise? What subjective choices lead to specific colour combinations? Hinsberg intentionally incorporates chance and the limitations of available materials into her artistic process, extracting unexpected freedom from reduction.
Cutting plays a pivotal role in Hinsberg's work. While drawing is a direct, conscious movement, cutting adds an additional dimension to the pieces. By cutting the lines in "runden" and "Schraffen," openings are created that reveal the wall or space behind them. This action actively transforms the two-dimensional surface into a spatial experience or towards a 'behind.' This permeability allows for transitions from the closed paper surface to a new openness that interacts with space and involves the viewer. Hinsberg describes cutting as a quieter, more reflective process in which creative work recedes to yield to the demands of the material.
The title of the exhibition "Now Now" alludes to the tension between immediacy and duration, encouraging visitors to explore the relationship between spontaneous drawing and meticulous repetition. In her work, repetition is not merely reproduction; it fosters differentiation—each iteration fosters differentiation and opens a new space, and each gesture alters both the preceding moment and itself.
Exhibited works
