Reality and veritableness are abstract concepts. They vary from person to person and can even be completely contrary. When a group has a common reality, it is created by communication and definition, by common convictions and views. Reality doesn’t just exist, it is constructed and represents the interior of a group, a society.

Katharina Lehmann takes up this construction of reality in her objects. Her thread-drip painting technique produces organic structures from threads and acrylic paint. The tissue that the artist creates, forms the basis for the three-dimensional artworks as well as for the works on paper and canvas. The natural, chaotic element is being symbolized by this technique; coincidental connections and incidents that shape our reality and perception.

In contrast, Lehmann puts geometric lines connecting the junctions of the tissue - the attempt to bring order into chaos. Appointments and plans are expected to force reality into a grid; trying to move from point to point and blinding out being always subject to natural chaos. The mass of the organic structures prevail the clear lines constantly. At the same time, Lehmann creates the reality of the viewer; she gives him a point of friction and a starting point for impressions, opinions and thoughts about his own reality, but also about the reality of the artist herself.

Jürgen Heinz abstracts reality and veritableness a bit further and destroys the expectations on his material, the steel. The metal otherwise used in the heavy industry is alienated from its usual use and reversed to the contrary. Heinz creates movable, futuristic sculptures which are as far away as possible from bridge construction and reinforced concrete. The modular work like "interface" or "people" reminds of monuments, they change space by their mere presence. Simple forms, constructed of mobile modules and divided by cuts, form a fascinating order, from which one can’t withdraw. One is attempted to put the sculptures straight, complete the forms and remove the asymmetries, and yet feel that these are necessary for the special attraction of the steel constructions. Even these forms and patterns are only constructed, they keep the steady state of orderly chaos, and between the steel modules of "interface" space remains - from which we form our reality. The Space Within is ultimately the space in ourselves.

Text: Marina Sprenger