2022 first exhibition starts with a group show on drawing. Expansion is one characteristic of the works. It is understood as in space taking of a line, a pattern, paint and colour, or even in a truly 3 dimensional spatial way.

Stephan Baumkötter

Repetitions, the drawings result from nothing else: Materials, a mere few formats used over and over, even the speed of the movement in drawing is relatively constant. It is always the same and it always becomes something else. Small groups of related works reveal this: Even using the same procedures and employing the same colours, this stable constellation still emerges differently again and again. By themselves, the differences come about during the process of rolling the pastel crayons, because in the act of drawing the crayon becomes deformed through gradual abrasion, and thus, its behaviour during the movement is constantly different. In this way repetition is avoided, differences necessarily present themselves and what comes about can neither be copied nor repeated. For this reason alone each of the works is an unimaginable drawing, one cannot preconceive them. And already for this fact, each of the drawings is a surprise, something unforeseen.

Jens Peter Koerver “Nothing Specific” from the Catalogue “Bethany Bottrop”

Translation: Elisabeth Volk

Sotirakis Charalambou

 I hope to hang several space drawings. The works are made of fibres which are pulled into cords/strings which are arranged/drawn, fixed and suspended in open space. These types of drawings occupy space. They are multidimensional; can be viewed in the round. An extra dimension exists compared to solid sculptural forms in that they are see through. therefore they are not fixed entities. The suspended strings at once interrupt and reveal space; emptiness becoming integral. This type of work come from painterly considerations; to free colour and drawing from the restrictions of edges; the confines of rectilinear geometric flat two dimensional surfaces which become frames and isolate no matter how nonobjective the intention -windows. The Abstract Expressionist called for acknowledging the flat surface to avoid illusion of pictorial depth etc. I attempt to find ways that are not representational or conventionally sculptural. To this end l make works which have real depth in space thus are not illusions of it, of three dimensional space.  In contrast, l will show one or two drawings on paper.

Raymund Kaiser

Based on my paintings, I became preoccupied with the question what drawing represents for me . When I first transferred the contours of my paintings onto a sheet of paper they immediately became surface . When applied with a paint marker on to tracing paper, it became different. The silver surfaces reflected the light in many ways. Seen from different viewing points with the structures created by the moving contours of the marker new lively images are created despite the use of the neutral non-colour grey.

Only through ‘exposure’ the image becomes visible, like in a photograph, where after exposure through the negative the positive motif appears. Here a structure remains in motion on the silver surface. It cannot be fixed. The translucency of the tracing paper enhances this effect and makes the amorphous forms seemingly floating. That was what I was looking for. 

Giulia Ricci

The basic structure of my work consists of grids of isosceles right triangles. I arrange, modify and distort their configuration using repetition, rotation, mirroring and other compositional methods. The references of my practice are textiles, tiles and various other patterned man-made artefacts, on a microscopic and macroscopic scale. I am interested in the often unassuming but all-pervading presence of patterns and systems in the places we inhabit and in the objects that surround us. I create multiple focal points through the repetition of triangles within the grid structure and through the ambiguity between figure and ground. I use this strategy to elicit a tactile and spatial response from the viewer. The perception of my work can change significantly depending on the proximity from the surface; from the macroscopic forms created through modification and distortion at one level, to the discrete, quantised units at another, and finally, to the surface texture and mark-making at another.