Katrin Brause a.k.a. Heichel: Grund   
19 September—24 October 2020   

Peripheral places and precarious, temporary dwellings, fragile objects, objects as if from a bygone era, marked by age and wear and tear—once again it is the marginal iconography of the street [Susanne Altmann, 2012] that becomes the motif of Katrin Brause's painting. In her way of painting, the artist takes up the brittle impression of the motifs both formally and creatively, transferring them into a painting that takes up the materiality of what is shown. The surface condition refers both to the physicality of the motif itself, but expands it by a powerful, assertive quality.
We find ourselves again in the streets of Catania [Sicily], encounter doors and plywood, old pieces of facades, references to the pictorial language of Catholicism and much more. But the Sicilian city as a place of longing of the Mediterranean south does not present itself through magnificent palazzi and light-flooded sea views, but through a remote everyday life, a living environment that has no place in the imagination of a journey to a Dolce Vita Italy, and all the more tells of authentic life.
Through a strong formal language, the artist gives her pictorial content a powerful visual expression. The marginal places, as it were non-places of our time, demand an encounter with her pictures. They are other identities, other stories and other relationships that are emphatically told.
In her artistic work, Katrin Brause is concerned with more than a virtual visual space, a spatial illusion masterly presented by hand and formally. Rather, the materiality of the work, the gestural traces of the working process, the entire texture becomes part of an exciting reference to the ambiguity of the image between materiality and immateriality [of the illusion]. Through this complexity of form and content, the artist creates scenes in which the seemingly fragile props and ambiguity of the staging refer to larger themes such as the periphery and centre of a space-related present—without depriving the viewer of the possibility for his or her own narrative approaches.
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