We are tempted to compare Bettina Paschke to the ancient Sisyphus, as she is always fighting against the impossibility of perfection. Her delight in the flawless - with its self-overestimating claim to precise perfection - stands against the indispensable mistakes, the uncorrectable inadequacies - which, however, make her drawings come alive.
In her small-format ink drawings, she stretches the lines from point to point, right over the edge; accumulates the small-scale strokes into grey values, curves them, lets them grow in orderly rows over the white sheet - one stroke conditions the next.
The sum of the handmade imperfections gradually changes the sequence of strokes. The process cannot be planned. The deviations make the web come alive, bubble up, contract, swirl - the drawing develops its own life, seems physical. She lets it grow, improvises, holds against it.