"Blumen.Flüstern"

With her photographic spatial installations, Michaela Bruckmüller immerses herself in a world in which she analyzes the relationships between surface and space as well as light and darkness. The thematic focus here is on the pictorial motif of the plant, which ultimately forms a mysterious natural subject of flowers, blossoms and branches. The photographer is fascinated by the
perseverance with which the delicate, slender roots reach for the nutrients that ensure the organism's survival, even in the hardest of soils. This tenacity is indispensable for overcoming existential fears - as the exceptional situation (Covid 19) also confirmed. However, what
Bruckmüller associates more with the title “Fetish” is the impressive interplay of forms that expresses the mortality and withering of these plants.

„Pflanzen sind meine Fetische. ich sammle sie seit Jahren. extrahiere sie aus ihrer natürlichen
Umgebung, setze sie in ein bodenloses Schwarz und schaffe so meine eigene Wunderkammer.“
[Michaela Bruckmüller]

Colorful life and the impalpable and impressive blackness that appears behind it create a kind of hyper-reality with illusionary spatial depth. The painterly aspect thus created is reminiscent of 17th century still life painting. The precise nature of the depiction and the existential 'depth' arouse an attraction in the viewer,
which makes it easier for him to deal with the passing of life. The process of withering carries within it a beauty that in a way even surpasses that of the blossoming of life - and that is an extremely valuable discovery.

Angela Flaig is a sculptor - and like every sculptor, she is fond of drawing, which she has never really practiced, except in the geometric arrangement of seeds in and on paper. Geometric, reduced, elementary forms are at the forefront of her work. draws the inspiration and material for her works from her surroundings, her everyday life.

Angela Flaig's works are made almost exclusively from natural materials. They almost seem to be about to fly away, were it not for a glass lintel. The artist compresses individual seeds or even a complete seed head, such as those of the dandelion or willowherb, into extremely voluminous, deep and chaotic bodies.

They are often simple flying seeds from thistles, coltsfoot or dandelions, which she collects on long walks or in her own garden. Angela Flaig also seeks depth and spatiality in her works. Held together with hairspray, the artist creates multi-layered seed bodies. Flaig herself provides a comparison to the technique of glazing painting, which also allows a view into the depths.

The circle, the oval or the rectangle and square can be found again and again. The theme of nature is in the foreground and the works demand patience and tenacity, just as nature demands of itself. The theme of growth and decay is obvious - she also seeks spatiality in her works.

Angela Flaig herself provides the comparison to the technique of glazing painting, which also allows a view into the depths. With her multi-layered and touching, sensual works - the seed as the origin of life - Angela Flaig creates a haven of peace and contemplation in our noisy and hectic lives. Contemplation and diversity - if you take a closer look at the works, it is always astonishing how diverse and painterly the simplest of complicated foundation stones are. Angela Maria Flaig shows us what life looks like in a very vivid and creative way.

 [Bettina Paschke]

In contrast to the abstract approach of the Rapid Lines series, Paschke's works of the last three years are dedicated to her childhood place in a personal way. Surrounded by meadows and forests, she explores this supposedly familiar place on forays and uses the drawing process to make it her own. The works are based on observation, visual impressions, structures, details, moods and the contrast of light and shadow. Collected found objects, remnants, photos and sound recordings serve as a starting point and occasion to draw. The artist repeatedly works on the changing state of the meadow in front of the house, for example, or the slow drying of a large butterbur leaf at the edge of the forest. At the end of this process of appropriation are non-representational sequences of strokes, leaf-filling structures or shadow images as an abstract echo of the real presence.